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Full text of "The Boston Phoenix 1980-03-11: Vol 9 Iss 11"

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Robert Brustein comes to town 


Anderson by Michael Grecco; Bush and Reagan by Christopher Brown 


ARTS LIFEST YiE 


On the brink: The controversial Black feminism: Six women 
talk about it and themselves 


50 cents 
March 11, 1980 

~ Boston’s Largest Weekly 
Four sections 
152 pages 


THE UGLY 


Thanks to John 
Anderson, the GOP 
campaign has 
suddenly gotten. 
interesting, as the 
candidates take the 
high road, the non- 
road, and the low 
road. Marco 
_Irbovich reports... 
from Florida; 
Charles P. Pierce 
looks beyond. 


The sham of 
National Youth 
Service 


Borten on SATs 


ARTS 
Schiff on ‘Coal 
Miner’s Daughter’ 


Rachlis on 
Ronstadt’s new- 
wave album 


Sherman’s BSO 
debut and a dissent 
on Zander 
Jamaican ska 
comes to town 


65453 


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THE BOSTON PHOENIX, MARCH 11, 1980 


PUBLIC TRASH, 
PRIVATE CASH 


When I read the news that Boston Edi- 
son and Wheelabrator-Frye would join 
together to torch 1800 tons of trash a day 
in greater Boston and turn it into energy, 
I felt a pang of guilt at my own lack of en- 
thusiasm. 

Does it not make sense to take the trash 
that’s burying us and transform it into 
what is becoming a very rare commod- 
ity, energy? It does indeed. Why, then, 
can’t I give credit where credit is due? 
Maybe it had something to do with the 
line in the story telling us it was Gov- 
ernor King who brought the controver- 
sial utility together with Wheelabrator, a 
high-powered producer of energy and en- 
vironmental systems. 

A perusal of a list of contributors to 
King’s 1978 campaign reveals that at least 
four men with the same names as 
Wheelabrator vice-presidents gave $500 
each. Three gave New Hampshire ad- 
dresses (Wheelabrator’s headquarters are 
in Hampton, NH), and one hailed from 
Urbandale, Iowa, where Wheelabrator 
also has offices. 

When asked why company executives 
had given to King, Norman Ritter, a 
Wheelabrator vice-president who handles 
public relations, asked, What company 
executives? First, I mentioned James 
Donlan. Perhaps I mumbled, because 
Ritter said he wasn’t familiar with him. 
He acknowledged he was familiar with V. 
Dean Freese, Steven Shulman, and Marc 
I. Stern. : 

“I can’t speak for them,” he said. 
“They're all individual contributions. 
There were no corporate contributions. 
You'll have to speak to the gentlemen in- 
volved.” 

Had Wheelabrator “encouraged” its 
officials to give to King? Not that he 
knew of, he said. So I did what Ritter 
suggested and called the four individ- 
uals. Freese, of Iowa, and Shulman were 
out of town, their secretaries said. Don- 
lan was in conference, and Stern was in a 
meeting. I left messages for Donlan and 
Stern, but got none back. It certainly may 
be. coincidental that four officials from 
the same company decided individually 
from one town in Iowa and three towns in 
New Hampshire to give exactly $500 each 
to a man running for governor of Massa- 
chusetts. Possibly coincidental and de- 
finitely legal. 

Corporations cannot give, but in- 
dividuals can. Somebody who works for 
this newspaper gave to Ed King. Some of 
my neighbors gave to Ed King. I didn’t 
happen to give to Ed King, partly be- 
cause I am a cheapskate, partly because I 
don’t contribute to pols I’m likely to write 
about, and mostly because I don’t see the 
world the way King Eddie does. 

Were I governor, for example, I would 
not have picked Robert Foster to manage 
the MBTA. King plucked Foster from his 
job as manager of the Saugus RESCO 
plant (for Refuse Energy Systems Co.), 
which converts trash to energy for the 
General Electric plant in Lynn. I'll be 
trashed! That’s a Wheelabrator-Frye op- 
eration, in partnership with M. Martin 
DeMatteo, who for years has moved well 
in politics and business. All this is prob- 
ably another coincidence. 

But coincidence or not, my curiosity 
was piqued. That reference to King’s 
bringing Edison and Wheelabrator to- 
gether — what did it mean? “I haven't got 
any comment on that,” said Ritter, the 
vice-president in charge of public rela- 
tions. 


News Index 


Letters 4 
Three on a match 6 
Down in Dixie 8 
Personally 10 
Youth service? 24 


eye 28 


Stuart Rosner 


King believes that if industry and gov- 
ernment are both available to do some- 
thing — something like building trash- 
burning energy converters — then the 


private sector should do it. Rather than 


help local communities band together to 
build and operate systems that would 
eliminate their trash and provide them 
energy, King reportedly has been en- 
couraging private firms. 

Wheelabrator is not the only outfit in 
the game, but it’s the only one with a 
RESCO facility. Early in 1975, when Mi- 
chael Dukakis was governor, a RESCO 
official reportedly suggested to Robert 
Kiley, then the newly appointed MBTA 
chief, that the T should consider replac- 
ing its Southie power plant with a 
RESCO-type plant. Kiley declined to 
carry that ball. Sources say that Foster 
has shown no signs of helping his former 
employer along those lines. 

Wheelabrator was trying to get some- 
thing going in the Stoughton area, but 
Ritter said he didn’t know what was 
happening there, and he wouldn’t name 
other Massachusetts communities with 
which Wheelabrator might be dickering. 

Wheelabrator and DeMatteo com- 
pleted building the Saugus RESCO plant 
in 1975. While it’s far better than the 
dump DeMatteo used to run there, the 
plant has caused some pollution and it’s 
had problems making money. It has yet 
to turn a profit, though Ritter says it’s ex- 
pected to do so this year. This is a more 
optimistic view than that given less than 
two years ago by another Wheelabrator 
vice-president, who said the facility 
might never be profitable. 

Meanwhile, the Edison-Wheelabrator 
proposal is barely out of the embryonic 
stage. Despite Eddie King’s midwifery, 
the little tyke, given enough trash to eat, 
could grow up to eliminate one big en- 
vironmental problem in greater Boston 
and reduce our’ dependency on oil or 
nukes. But the pre-construction fallout is 
implicitly dangerous — should such op- 
erations be run by the public or by prof- 
it-making firms, which could become 
monopolies, like the utilities? And should 


_ the governor be shilling for the latter? _ 


REMEMBER 
THE GREEDY 


A guy in the oil-delivery business was 
complaining the other day that the credit 
crunch is not only on the customers, but 


on the dealers as well. ‘Mobil wants its - 


payments in 10 days,” he said, ‘‘and they 
don’t want to know any excuses.” 
Frankly, I’ve just about had it with 
complaining customers and oil dealers. 
Don’t they understand Mobil’s prob- 
lems? Mobil’s profits were up 78 percent 


last year. But people on fixed incomes 
and working stiffs who lug hoses down 
your driveway may not appreciate that 
Getty Oil’s profits were up 83 percent, 


and Texaco’s, 106 percent. 

If you do not pay your heating-oil bill 
on time, then your dealer cannot pay Mo- 
bil on time, and Mobil could be stuck 
again next year with only $2.01 billion in 
earnings. 


BEEN DOWN 
SO LONG ... 


While the polls are not kind to Ed 
King, there are other indications that he’s 
not doing badly in building a base for re- 
election or whatever else comes next in 
his. career. 

Item: while King always enjoyed the 
support of high-technology industrial- 
ists, he was not so universally regarded 
by the older money downtown. But re- 
cently, there’s been some gushing of ad- 
miration. “It was the synfuel thing,”’ says 
one source, referring to a plan by King 
and his pal Bernie O'Keefe, head of 
EG&G Inc., to create a Fall River energy 
complex that would convert coal to syn-— 
thetic gas. The gas would be burned to 
generate electricity. ‘Before that, you 
couldn’t find too many downtown busi- 
nessmen who admitted they had sup- 
ported King or who thought highly of 
him.” 

Item: Ted Kennedy’s klotzy campaign 
might make King seem courageous for 
having come out early for Carter. When 
King met with the Massachusetts con- 
gressional delegation recently, Kennedy 
— who had verbally belted King the pre- 
vious year — was not there. 

Also absent was Tommy O'Neill, the 
lieutenant governor in exile, who, 
through King’s manipulations and, per- 
haps, his own doing, does not appear to 
be a threatening alternative to the gov- 
ernor, as some had hoped. It’s possible 
that the Kennedy and O’Neill families 
may wish to contain their anger and 
someday get even, but it’s questionable 
whether those clans still have the ability 
to get even, despite Kennedy's Massa- 
chusetts victory. 

Item: King’s press has improved. This 
doesn’t mean he is smarter, nicer, strong- 
er, taller, or more reasonable. It just 
means that one or more persons are steer- 
ing him into media events, such as the 
Fall River energy proposal. Real events 
are also helping; it’s hard to avoid bask- 
ing in the glory of a fellow townsman’s 
being the captain of the US Olympic 
hockey team. 

Some observers see the fine — de- 
vious? — handiwork of Barry Locke, state 
Secretary of Transportation and Con- 


struction, in the improving imagery. 
Locke was press secretary to former Gov- 
ernor John Volpe and understands all too 
well the art of media manipulation. ‘The 
scuttlebutt,” one source says, “is Locke’s 
number one in King’s cabinet.” 

Given all of the above, if King can be 
kept from committing the type of ob- 
vious gaffes that marked the first year of 
his administration, he could continue, in 
his inimitable way, to destroy democracy 


as we know it in less-dramatic ways that 
might not attract media or public attend, 


tion. 

The defect \in this theory is the pub- 
lic’s memory. The public punished Mi- 
chael Dukakis for reneging on his no- 
taxes Campaign promise. King’s tax pol- 
icies, if indeed they exist, carry the germs 
of financial scurvy, the symptoms of 
which. are likely to become more obvious 
in each city and town as his administra- 


- tion ages. 


Already, in Winthrop, King’s own 
town (and mine), there have been mut- 
terings of great discontent even though 
some locals have given him plaques and 
awards and such. In one store, a guy was 
complaining about the high price of heat- 
ing fuel. A customer said, laughing, 
“Well, talk to the governor.’ The store 
owner sneered. In yet another store, 
everyone was singing the praises of Mike 
Eruzione’s prowess on ice: “What about 
our other famous resident?’ someone 
asked, pointing to a picture of King. 
More sneers and groans. 

So the public perception of King is 
low, but certain forces are at work to give 
credence to the old saw that when one is 
that far down, there’s no place to go but 
up. I suppose this creates some difficulty 
for those who would oppose King in 
1982. Do-you lie low to escape public in- 
vective and disillusionment, waiting un- 
til the last possible minute to challenge 
him? Or, given his potential for recoup- 
ing, do you take advantage of his low 
popularity now? Do you sit back, con- 
fident that his tax policies will make him 
a one-term governor? Or do you make 
your debut, fearing that King may ac- 


tually be listening to and learning from’ 


those who can steer him clear of any ma- 
jor disasters in the media? s 


BIRTHS OF A NATION 


Congress’s efficiency watchdog, the 
General Accounting Office (GAO), 
having completed what's probably an 
important report on health care, pro- 
ceeded to summarize it in a way that 
may confirm: the fears of those who 
warn ad nauseam that big government 
plays too large a role in our personal 
lives: ‘Better management and more ree 
sources needed to strengthen federal ef- 
forts to improve pregnancy outcome.” . 


| 
ay: 
Alan Lupo | 
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Public eye 


Down by the 
old mill stream 


hen Maude Gallagher was 14 
years old, she spent the sym- 


mer working as a bobbin girl at 


the cotton mill on the bank of the. 


Charles, across the Common from Wal- 
tham City Hall. She threaded bobbins on 
the spinning machines and kept an eye on 
the turning spindles. ‘‘They had these 
huge machines. The ceilings were very 
high and it was very noisy. We worked 
from six in the morning to six at night. 

“One day, I remember, I was tired,” 
said Gallagher, “and I went to look out 
the window at the park. I turned around, 
and who was standing behind me but the 
boss. Well, the boss called me aside and 
said I was perhaps a little young to be 
working there. But it was so long ago. I 
don’t remember much about it.” 

Maude Gallagher worked at the Boston 
Manufacturing Company in 1902. To- 
day, at 91 (91-and-a-half, as she says), 
Gallagher is back at the mill. But the 
four-story brick factory with a river view 
is no longer her place of employment. It’s 
her home. : 

Gallagher was among the first tenants 
to move into the Francis Cabot Lowell 
Mill, which was recently converted by the 
Boston Investment and Development 
Company into housing for Waltham’s 
elderly population. Not only did the 
renovation transform what was once con- 
sidered an eyesore, but in the process, the 
mill’s remarkable history was dis- 
covered, and has since been proudly 
claimed by the community. 

The whole complex of structures sur- 
rounding the 167-year-old mill is now an 
officially designated historic district; the 
mill itself was the first industrial build- 
ing in America to be designated a na- 
tional historic landmark. 


In 1813, Francis Cabot Lowell and :: 


group of investors signed articles of as- 
sociation for the Boston Manufacturing 
Company. The singularity of the name 
said it all — there was no need to describe 
the firm any further because there was, 
simply, nothing like it in the world, much 
less in or around Boston. 

By 1815, the BMC was produc- 
ing cotton cloth manufactured entirely at 
the Waltham mill. Lowell and his bril- 
liant ‘‘practical mechanic’ Paul Moody 
(for whom Waltham’s main street was 
named) had gone the leading British tex- 
tile factories one better: all of the steps re- 
quired to turn cotton into cloth, from 
carding and spinning to weaving, were 
carried on under one roof. According to 
business historians Glenn Porter and 
Harold C. Livesay, it was “the first truly 
modern factory in the United States, for it 
integrated and mechanized production 
from raw material to finished product un- 
der a single management and within a 
single factory.” 

The company also set personnel- 
management precedents by building 
boarding houses for its mill workers, 
most of whom were farm girls from the 
area. The “Waltham-Lowell system of 
manufacture” was copied around the 
world, and the BMC itself used the Wal- 
tham plant as a model in its ambitious 
blueprint for a completely planned in- 
dustrial community. Lowell, Massachu- 
setts, was named for the same industrial- 
ist who gave Waltham — and New Eng- 
land — its first modern factory. (The 
Waltham mill was eventually eclipsed by 
the BMC’s operation in Lowell, which 
was, in 1978, designated the country’s 
first national park to honor the Indus- 
trial Revolution.) 

Michael Folsom, professor of Ameri- 
can civilization at MIT and founder of 
the MIT Mill Studies Project, says the 
Boston Manufacturing Company did 
much to foster New England’s domin- 
ance in the textile industry, but also led 
the industrial exodus out of the North- 
east. “The Depression began in the ‘20s 
in New England,” says Folsom. “Shoes 
and textile mills went under in town af- 
ter town. The Boston Manufacturing 
Company was the first of the major com- 


eggy McMahon 


Photos by P. 


Maude Gallagher 
and the’ Francis 
Cabot Lowell 
Mill: ‘‘We 
worked from six 
in the morning to 
six at night.” 


panies to leave.” According to Folsom, 
the BMC, which pulled out of Waltham 
in 1929, was the first of the runaway 
shops to avoid unions and seek cheaper 
labor in the South. . 

Professor Folsom may be credited with 
making the Francis Cabot Lowell Mill a 
source of civic pride for Waltham resi- 
dents. “I was teaching American civil- 
ization and I decided I wanted to cover 
something besides Thoreau and Hem- 
ingway,” Folsom said. “I wanted to teach 
the industrial component of American 
history... 

“I concentrated on New England's tex- 


tile industry and we did a lot of field trips, 
which is how I knew about the Boston 
Manufacturing Company,” Folsom said. 
He happened to run into the developer of 
the Lowell Mill at a cocktail party. ‘I 
asked him, ‘Do you know what that mill 
is?’ And he didn’t know. The mayor 
didn’t know. Here you have one of the 
birthplaces of American industry and no 
one knows it. But that’s the attitude 
toward industry,” said Folsom. “It’s the 
backbone of American economic power 
and influence, but it’s also got a legacy of 
suffering and ugliness attached to it.”’ 
The history of the mill, as well as the 


structure itself, is being rehabilitated and 
will be incorporated into the lives of the 
300-odd people who will eventually live 
at the old factory. A museum featuring 
the history of industrial Waltham is 
planned for the old boiler room, and 
floors that once supported water- 
powered looms will house community 
rooms and offices for Waltham’s Council 
on Aging. 

The mill's historical treasures aren’t 
limited to beams, bricks, and relics: some 
of its residents have as much to offer stu- 
dents of mill history as the building itself 
does. Although no special effort was 
made to find former employees of the fac- 
tory, somewhere between 25 and 30 per- 
cent of the present residents have some 
connection — usually through family 
members — with the work life of the mill. 


Mabel Argonta has become the resi- 
dent lay historian of the housing project. 
She is collecting stories from tenants and 
old photographs and clippings about the 
history of the building, which has housed 
numerous manufacturing concerns since 
the BMC left. ‘““My mother, Eva Smith, 
was only 16 when she went to work in the 
mill,’’ says Argonta. ‘My uncle, John 
Ryberg, created three ideas for the mill. 
My husband's people worked here, too.”’ 


Mill residents have already begun to- 


provide otherwise lost information. 
Maude Gallagher remembered that “ You 
had to be at work when the bell rang at 
six in the morning.”’ That bell was long 
forgotten until Charlie LeBlanc, one of 
the mill’s new tenants, recalled that about 
20 years ago he had helped move the ori- 
ginal bell up to his home town, on Cape 
Breton Island, Nova Scotia. He and some 
friends had been hanging around the 
French Club in Waltham and had been 
talking about their home-town church, 
which had burned down. They’d heard 
the bell tower had been rebuilt but still 
had no bell. One of LeBlanc’s friends re- 
membered seeing an old bell lying in a 
junkyard around here; the men paid $800 
for it and moved it to Nova Scotia them- 
selves. 

Michael Folsom says, “‘If it all checks 
out, that’s a Paul Revere bell. It’s one of 
the few objects left from the old cotton 


“nil.” Folsom hopes to find the bell’and 


restore it to its original home. “It’s not 
like I'm robbing the church of its bell. I'll 


offer to get them another. Besides, they~ 


can’t ring the mill bell, because it’s too 
big. It cracks the steeple.” 

Participatory archaeology is alive and 
lively in Waltham, and Maude Gallagher 
is eager to be in the thick of it. She was 
one of the first to volunteer as a resident 
greeter/host, to answer the front door 
and lead visitors through the exhibits and 
museum. “I! retired from work 10 years 
ago. That lasted one month. Then I 
started my volunteer work.” 


Gallagher lost her husband and young 
daughter in the influenza epidemic of 
1919. She sent three sons off to World 
War II and all three came home alive. She 
has worked in factories, run her own 
store, clerked for others, nursed the sick 
and elderly. Today, she’s slowed down a 
bit. She runs the Beano games at two 
nursing homes and volunteers for the 
Red Cross. Six years ago, the mayor pro- 
claimed her 85th birthday Maude Galla- 
gher Day in Waltham. 

Gallagher's living-room window over- 
looks the Moody Street dam and its 
waterfall. From the street, her window 
looks like all the rest, framed with simple 
white curtains intended to preserve the 
“harmonious appearance” the develop- 
ers intended. 

Inside, however, the huge mill rooms 
have been divided into small, almost 
cramped, but still cozy modern apart- 
ments. The living quarters as well as the 
hallways are covered with drab indoor- 
outdoor carpeting. The heat is abundant 
and, mercifully, subsidized. 

Gallagher still spends her days across 
the road from the Common that dis- 
tracted her from her mill duties 78 years 
ago, when she wore her hair “down to my 
fingertips.” 

“We're so fortunate to be here,” she 


said. 
— Anita Diamant 


O86} HOUWW ‘XINSOHd NOLSOS 


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THE BOSTON PHOENIX, MARCH 11, 1980 


to the editor and other people 


TIMELY 


You cannot imagine how delighted I 
was to read the ‘’Teheran Diary,”’ by Wil- 
liam Worthy (March 4). At a time when 
the Islamic revolution and its aftermaths 
are so satanized by the American media, 
printing Worthy’s article was very 
timely. 

Having observed great revolutions like 
those in Algeria, Cuba, etc., and lacking 
any association with certain groups and 
organizations (and their “vital inter- 
ests’), Worthy gives us articulate in- 
sights about Iran. For us Iranians, this is 
invaluable. 

I congratulate the Phoenix on printing 
this article, which reflects the truth about 
Iran. You are probably a pioneer among 
the papers in the Boston area in your 
decision to print another side of the “Iran 
crisis,” one not reflected in the major net- 
works and papers — the truth. It’s about 
time a newspaper and a journalist fulfill 
the duty of journalism — truthfulness in 
informing the public. 

Mina Zandieh 
Malden 


ASPECTS OF 
DISCO 


I am and have been a fan of the letters 


section of the two weeklies in this town 


ever since I moved here, a year and a half 


ago. I’ve especially enjoyed the way- 


people answer letters about letters, etc., 
serving as a continual forum. One topic 
that has received much “airplay” is the 
continuing debate on whether or not 
disco is dying, dead, wild, or wonderful. I 
feel that the essential point has been 
missed. I have heard and read the opin- 
ions of people from both sides of the 
issue and find that both are trapped by 
the fatal flaw of a limited view. My stance 
could be looked upon as conflicting or 
hypocritical on the surface because basic- 
ally I “side” with the anti-disco people, 
while I enjoy disco artists such as Earth, 
Wind and Fire, Gloria Gaynor, and 
Michael Jackson. What makes these 
seemingly conflicting things consistent is 
the why and the why not. 

In his letter in the Feb. 26 Phoenix, 
Robert Judd defines the turn-on of disco 
as ‘’a metronome for dance,” and he says 
that ‘’the artistic creativity of disco music 
is not essential to the disco-goer; disco 
has a style that makes him move or gyrate 
because of the beat. That's all there is to 
it: 

This definition holds two important 
questions, one to address each side of the 


~ issue. It asks the anti-disco side, Why is it 


wrong just simply to want to dance. To 
this I answer, Nothing! Nothing at all. 
This I see as the basic defense of disco. 
But the other question raised (and the one 
I ask pro-disco people) is, Why not dance 
to music rather than an elaborate metro- 
nome? If the best is what you want, fine, 
but why is that all you want? Artists like 
Michael Jackson and Earth, Wind and 
Fire have proved that you can have the 
“disco beat’ and still be wonderfully 
creative (I think that E,W & F are one of 
the most creative groups in years). These 
questions address the disco issue, and 
there are many points that could be ar- 
gued along these and other lines, to be 
Sure. But my objection to disco is not to 
disco itself but to the attitude towards 
music it exemplifies. The essential point. 
The attitude of labeling a music form or 
style that one likes or wishes to sell 
(whichever side you're on) and defining 
it. And having anything that fits this 
definition be accepted. (I once read a 
definition of country music as anything 
that had a pedal steel guitar in it. Not all 
are this narrow, but I hope you can see 
my point.) People who want to dance can 
dance to an incredible amount of styles 
and forms of music that fit these and 
other needs. 

At the same time, people could go to a 
club, say to listen to the music and meet 
people, even if they don’t dance. And 
people who want to dance to different 
kinds of music can, and so on. The music 


biz is a money-making venture. They sell | 


a product. The simpler the product (in the 
case of music, the simpler the definition 
of a music form or style), the less that has 
to be done to sell it to people. But selling 
is a two-way thing: one seller, one buyer. 
Disco as a form of music can be rede- 
fined to meet more needs and wants of 
more people. By those people! What we 
want we get! If we want a metronome, 
that’s what we'll get. If we want music we 
can dance and listen to, we'll get that also. 
Don’t ask too little is all I say. Every- 
body can have his or her way. 

1 have distaste for any musician or 
group that depends on fitting the defini- 
tion of their form for credibility. This 
goes for all styles of music. I subscribe to 
none blanketly and single out none 
exclusively. 

T. Ross 
Waltham 


\ 


‘GIRL’ TO GO FAR 


Re: the article March 4 on social 
openings. 

May I commend Andrea Lee for her 
sharp eye, incisive view, and witty pen. 
During the heady week I spent escorting 
the beautiful and vivacious Lee around 
town from one opening to another (across 
the river and into the Fogg), I could not 
get over her sharp observations and 
trenchant insights. This girl will go far in 
journalism! 

Martin H. Sobodkin 
Boston 


FEMINISM ENTAILS 
PARANOIA 


To Anita Diamant: 

Your article in the issue of January 29 
publicly put yet another end to the false 
idea that there exist as many signs to jus- 
tify hope as there are to instill fear. 

It has become controversial to discuss 
social phenomena such as poverty, waste, 
or war in feminist terms. For a woman 
living in this time, it is necessary to be al- 
ways alert, on the lookout. Paranoia hap- 
pens to be a byproduct of feminism. A 
feminist questions, takes little for grant- 
ed; let your guard down for a moment 
and you can mistake making ends meet 
for affluence. 

When women speak on issues that 
deviate from those traditionally allowed 
us, we take a huge risk. You responsibly 
pointed out that the attention given to 
war-making is a male interest — a deci- 
sion that clearly interferes in the course of 
evolution. 

It is necessary that smiliar points of 
view be made public through the written 
word. The Phoenix has acted respon- 
sibly in publishing your article. For this, I 
am grateful. 

Lynn Fiske Watts 


FUNKY BOSTON 


Mike Freedberg’s excellent article 
(March 4) on what of course is the cream 
of Boston funk contains two errors. One, 
I do not own BIR, and two, I was raised at 
the Whittier Street Housing Project in 
Roxbury, not Cambridge. Otherwise, 
Freedberg’s article was certainly more 
timely than that awful piece of trash 
printed in a recent Sunday Globe on the 
punks of Boston (the Neighborhoods) 
who substitute for good music a beer 
blast. Punk is nothing but a lot of 
drunks getting together. Jumping up and 
down making a nuisance of themselves, 
trying to, think they’re better than the 
funk. Man, I wouldn’t let one of those 
assholes from the Neighborhoods be a 
roadie for any of my acts. They better 
come on down to some of our gigs and 
learn how to play their instruments. 

Mike Freedberg, we love you! © 


Tony Rose | 


(manager of Prince Charles and 
the City Beat Band) 
Boston 


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THE BOSTON PHOENIX, MARCH 11, 1980 


Pamela Price 


Anderson 
also rises: 
Sacrifice 
sells in 

the Bay State 


by Charles P. Pierce 


Il candidates rely on quotations, some so exten- 

sively that it prompts speculation as to how very 

difficult it must be for speechwriters to type 
while keeping one elbow possessively propped up on 
Bartlett’s. Even worse, in 1976 we had Jimmy. Carter 
drawing on middle-period Bob Dylan so relentlessly that 
it seemed he’d been the only person to send flowers to 
Hattie Carroll’s funeral. 

A distinction arises when a candidate is so successful 
as to inspire the public to commit a kind of plagiarism on 
his behalf. Thus it is that the famous “Some men see 
things the way they are . . .” is attributed to Robert Ken- 
nedy, not to its originator, George Bernard Shaw. 

On the night of his double second-place ‘‘victories” in 
the Vermont and Massachusetts primaries, John Ander- 
son, the Illinois congressman, spoke twice to his as- 
sembled supporters. He was perspiring heavily; his rior- 
mally smooth voice had been left ragged by the thickets 
along the campaign trail. But in both sets of remarks, An- 
derson was careful to include a favorite aphorism by 
Ralph Waldo Emerson. Depending on what happens in 
the next few weeks, it is possible that some future candi- 
date may qnote John Anderson using Emerson’s words. 
“ ‘Nothing astonishes men so much,’ ” quoted Ander- 
son, ‘’ ‘as common sense and plain dealing.’ ” 


contributors, the theme of the Anderson campaign has 
been developed. It’s turned out to be one that, four 
months ago, not even Anderson’s closest advisers would 
have suspected. 

When Anderson announced his candidacy, many peo- 
ple familiar with him doubted he had the political sense 
to astonish anyone. ‘‘He’s one of those guys who spend 
most of their time in Washington,” an Illinois political 
analyst commented. ‘‘He seems to want to hold himself 
above the fray, and doesn’t want to do the spadework 
where it needs to be done.” 

Anderson’s New England surge had confounded such 
thinking. His original exploratory campaign committee 
advised against the race because its members did not 
think Anderson capable of ‘‘raising sufficient funds to 
become a viable national candidate.” 

“I’m glad to be wrong,” said a member of that com- 
mittee. ‘As I recall, my original concern was about his 
possible lack of intestinal fortitude on the campaign 
trail.” 


More important than volunteers, more important than’ 


Teri Bloom 


None of those worries seems relevant anymore. An- 
derson has exhibited an extraordinary delight in diving 
into political turmoil. He told farmers in Iowa that they 
should support the president's grain embargo. He stood 
up before National Rifle Association crazies in New 
Hampshire and argued for the registration of handguns. 
And his energy plan is based on a 50-cents-per-gallon 
gasoline tax, even though he has voted against any num- 
ber of taxes in Congress over the past several years. 

Through it all, he has been rooted on by the press, 
which has jumped aboard his now rolling bandwagon 
with unreserved enthusiasm. ‘I didn’t hear about him 
until the New York Times ran that editorial,” said Dick 
Stout, Anderson’s new national-media coordinator. 
“ ‘Why Not the Best?’ My God, what a headline.” 

The intensive coverage his candidacy has attracted for 


several months is in no small part responsible for the 


phenomenon that the Anderson campaign has become. 
The candidate’s people would have you believe that this 
is the result of their man’s outspokenness on the issues. 
But it must be more than that; Anderson is hardly more 
outspoken than, say, Phillip Crane. 

No, it seems rather that the press has become fasci- 
nated with Anderson’s self-appointed role as the cam- 
paign’s Bad-News Man. Undeniably, curiosity is aroused 
by any candidate who roams the countryside telling peo- 
ple they have to sacrifice, and that paying 50 cents more 
for a gallon of gas will be a proper response to the insta- 
bility in the Middle East. 

“There have been a few softballs along the way, no 
question,” said one of Anderson’s political consultants. 
“The media has been very supportive. We'll have to see 
whether that remains the case.”’ 

“I think the press corps would like to see John Ander- 
son do well,” said Jim Nowlan, a liberal Republican acti- 


vist from Illinois. ‘It’s certainly been one of his 
strengths.” 

The time spent on the man’s image by what political 
professionals call the ‘free media’’ has done nothing but 
boost the Anderson effort. Which is not to say the media 
are solely responsible for that effort’s sudden springing, 
to life. It is possible that Anderson could have come roar- 
ing up the feeder roads from nowhere only on his own 
inherent appeal. But it’s doubtful he could have ever 
done so so cheaply. “You don’t really have to get into a 
really high-overhead thing,” explained Anderson con- 
sultant David Thorne. ‘There is so much national media 
looking at the process now that it’s worth literally thou- 
sands of dollars. There’s so much media~out there that 
you don’t kave to spend for it all.” 

Whatever the motivation for it, Anderson has been the 
recipient of much media attention, while at the same time 
receiving little of the scrutiny that usually accompanies it 
and that has begun to cripple George Bush. ‘‘He’s gotten 
amazing press for someone who hasn’t shown himself to 
his best advantage electorally yet,’ commented one An- 
derson aide just before the Massachusetts primary. “He's 
not getting the tough press, the hard look, yet. Look at 
Bush. He was getting a free ride for a long while. Now it 
looks like he was a meteor that burned itself out over the 
skies of New England.” 

The Anderson campaign, then, has been able to re- 
main visible while operating frugally in the areas of paid 
advertising and paid staff. This has already begun to 
change, not only because his candidacy clearly is now na- 
tionally viable but also because his effort is finally com- 
ing into the money to spend on both. 

For nearly a year, the Anderson fund-raising effort has 
depended upon direct-mail techniques and has been co- 

Continued on page 12 


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James Zappone 


-Non-local coloring: Bush 


is about to get burned 


by Marco Trbovich 


T. PETERSBURG, FLORIDA — Taking this state serious- 

ly must be a plague on the house of any presi- 

dential candidate. Widely regarded as a microcosm 
of the American electorate, it is much more like a car- 
toon of the nation’s culture. From panhandle to 
peninsula tip, people and places caricature their former 
lives. Save for the ocean and the gulf — both obscured 
wherever possible by towering condos and gaudy hotels 
— nothing seems real. And unconditioned air is as rare as 
a fresh idea. 

The prevailing architecture is Ticky-Tacky Baroque, 
suggesting that urban planning must have ranked some- 
where close to Stalinism in the hearts and minds of the 
(homesteaders, who have flocked here from the South, 


Midwest, and urban Northeast over the past 25 years. If 


you drive for more than a block without spotting a 
building of pastel-painted cinderblocks, it’s time to get 


your eyes checked; you're probably suffering from- 


glaucoma. And the Great American Franchise Museum 
could easily be established by cordoning off a six-block 
section of any central-Florida business district. Down 
here, they've taken the mistake of suburban sprawl and 
reproduced it on a statewide scale. Only extraordinary 
wealth has fortified areas like Ft. Lauderdale’s 
Intercoastal Waterway from the encroaching swarms of 
billboards, plastic, and neon. 


The people may have been real in their former lives, 
but the sun appears to be broiling it out of them fast. 
Florida is three states, really: the northeastern tier is 
peopled by Southerners; the central state, or Golden 
Girdle as it’s called, by Midwestern emigres; and the 
southern third by escapees from the Northeast. Each 
section seems to be competing for the.prize of best carica- 
ture of its emigrees’ homeland. Up north you can stop at 
a sultry roadside bar tended by a dour, pin-curled 
harridan and stroll out back to find a couple of gators 
basking, dead-eyed, in the swamp that comes within 10 
yards of the tavern door — a real sort of Tennessee 
Williams delight (the bard himself has found a home 
among like kind in Key West). A little ways south, in 
Tallahassee, a labor leader who once marched with 
Martin Luther King in Memphis complains of the 
quiescence of the city’s blacks. Another former 
Tennessean, who served as a judge in one of the Golden 
Girdle counties, marvels at the number of Mid- 
westerners who are living in central Florida on union 
pensions and regularly voting Republican. And every- 
where the city’s bus stops come equipped with benches, 
each well-stocked with senior citizens as lifeless as 
knickknacks. (Imagine it: an entire state full of human 
tsatskis!) The sixth congressional district, which 
encompasses all of St. Petersburg and Pinellas County, 


Pamela Price 


receives more in Social Security. payments than any other 
district in the country, which is one reason why St. Pete 
is called the ‘‘city of newlyweds and nearly deads.”’ 

But for sheer comic perversion, Miami Beach cannot 
be beat. It is teeming with Republican Cubans crazy with 
hatred for Castro and oldsters crazy for suntans. The 
poolsides are crowded with rickety seniors parched dark- 
er than Gypsies, most of them of the New York/New 
Jersey persuasion. If these people didn’t actually exist, 
Philip Roth. would undoubtedly have created them. 
where are you from?” an old lady asks an even older 
couple she has joined in a hotel dining room. ‘‘Hacken- 
sack,’’ the man replies. “Oh, that’s nice,” the woman 
chirps. “What's so nice about he drones.) 


The valet outside the hotel speaks with the flat nasality a 
h 


that gives himr=way as a Chicagoan. “Walt,” as 

stitching on his powder-blue work shirt identified him, 
had moved down from the Windy City after last year’s 
horrendous winter. He likes the sunshine, he says. ‘“The 
place grows on ya, if ya give it a chance.” ‘And so does 
poison ivy,” you're sorely tempted to reply. But why 
scramble Walt’s brains before the sun has had a chance? 

So what do you call this octogenarian hothouse? 
Simple. Call it a second-class California, which makes it a 
first-class opportunity for a clean sweep by Ronald 
Reagan. They even have a second-class Disneyland here. 
They built it in Orange County, no less, and called it 
Disney World. The name has occasionally led to unflat- 
tering references to “the congressman from Disney 
World’’ — none other than that madcap star of 
ABSCAM, the one and only Richard Kelly. Perfect. 

Ronald Reagan has long been a favorite in Florida. 
Gerald Ford defeated him here, but only narrowly, by a 
mere 34,000-vote margin out of almost 610,000 votes 
cast in 1976. The vast majority of Ford’s victory margin 
came from Pinellas County, where he won by nearly 
20,000 votes. Much of the margin is credited to the sup- 
port he received from Bill Young, an extraordinarily 
popular congressman who has won as much as 79 per- 
cent of the popular vote in his re-election campaigns. The 
importance of Pinellas County in the Republican primary 
cannot be overestimated. More than 189,000 registered 
Republicans make it by far the heaviest concentration of 
‘GOP voters in the state. In addition, 35 percent of the 
county’s voters are over 65, which means they turn out 
heavily on election day. In ‘76, for example, an astound- 
ing 65 percent of the Republicans eligible voted in 
Pinellas in the presidential primary. 

The size and weight of the vote in Pinellas secured the 
victory for Ford, despite a narrow victory for Reagan in 
Broward County, on the east coast, the second-largest in 
Republican registration, and a resounding 57-42 Reagan 
win in Dade County, which is the third-largest for 
Republicans. 

Given that George Bush has been attempting to mount 
his campaign on the old Ford base, it is not unreasonable 
to assume that he must do almost as well as Ford did in 
order to keep Reagan from breaking 50 percent. High on 
victory after lowa, Bush, like O’Neill’s legendary addict 
of Long Day’s Journey into Night, was “so happy. . . for 
a time.”” Then Reagan, the man who had decreed the 11th 
commandment, that Republican candidates shall not 
criticize one another, cast the tablet out of the electoral 
temple as quickly as he had chiseled it. The ensuing 

Continued on page 20 


0861 ‘Lt HOUVW ‘XINZOHd NOLSOS SHL 


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DON 


THE BOSTON PHOENIX, MARCH 11, 1980 


Special Guest Stars: 


Orpheum Theater 7:30PM $8.50, $7.50 


Special Guest Star: 


J.D. Souther 
March 
7:30PM $9.50, $8.50 


Music Hall 


Collins 


March 20 


7:30 PM = $9.50, $8.50 


Symphony Hall 


Tickets available at Box Office, Ticketron, Elsie's ® 
asta ricket Agency, Kenmore Sq. & Harvard Sq., Out of Town picket 
hts Ticket Agency, Harvard Sq. & Strawberries, Store 24 
(B.U. & 281 Huntington Ave.) Concert Charge 
(all charge cards accepted) 426-8181 


Timothy Carlson 


The 
victory 


Carter can’t whistle through Dixie 


No, not that one: when Andy 
Young found out about Carter's 
Georgia slogan, he flin@hed. 


by Margaret Doris 


TLANTA — In Georgia and 
A Alabama, the search is on for 

clues to the outcome of Tues- 
day’s state primaries. Particularly hard to 
call is the Democratic race: while no one 
seriously doubts that Carter will take his 
native South, the margin is hard to pre- 
dict. The magnitude, and thus the signi- 
ficance, of the Carter victory will depend 
on several factors. 

— Voter turnout. Carter has lost the 
active support of many Democrats in 
gate. and Alabama. Since the out- 

ome of the March 11 races is assured, a 
significant number of complacent Car- 
terites may stay at home. 

— Interest in the GOP race. Both the 
Georgia and the Alabama primaries are 
open, or crossover, primaries. Ronald 
Reagan, John Connally, and George Bush 
have campaigned actively in the South, 
and Bush in particular is attracting sup- 
port from conservative Democrats. And 
after a triumphant showing in Massa- 
chusetts and Vermont, John Anderson, 
who has not campaigned here but is on 
the Georgia ballot, may attract liberal 
Democrats and Independents who feel 
that Kennedy is a lost cause. 

— The black vote. In 1976, the white 
voters of the 11 states of the old Con- 
federacy gave a narrow margin to Gerald 
Ford; it was the black vote that saved the 
South for Carter. But indications now are 
that black support for Carter is eroding. 
One reason is a sense of disappointment 
in Carter’s failure to deliver sufficiently 
on his economic promises. Another is the 
defection of some black leaders, includ- 
ing Julian Bond, who has come out for. 
Kennedy and who has suggested that 
there could be a well of black enthusiasm 
for John Anderson. According to polls, 
Southern blacks are split about evenly 
between Kennedy and Carter, with Car- 
ter holding a slight edge. 

Until recently, the Carter camp took 
Georgia pretty much for granted. The 
Carter headquarters in Atlanta was 
deemed unnecessary and in January was 
closed up. And it’s been easier to find a 
Kennedy bumper sticker than a Carter 
button; supporters who want to wear the 
Carter colors have had to dust off their 
green-and-white mementos from the ‘76 
campaign. 

_ Cafter stategists realized too late that 
black voters and all but the hard-core 
peanut brigaders were in danger of stray- 
ing. In an inept and ill-timed move to re- 
gain lost ground, the Carter campaign 
launched a crusade to prevent Kennedy 


from picking up a single Georgia-con- 
vention delegate. First Lady Rosalynn 
Carter unveiled the new “Stop Ken- 
nedy” attack plan in Macon a few weeks 
ago, urging voters to rally under the 
slogan, ‘‘No, Not One.” 

It is a phrase guaranteed to stir the 
hearts and minds of black Georgians. In 
1958, a white Georgian was swept into 
the governor’s office with “No, Not 
One” as his battle cry. But Ernest Van- 
diver was not talking about delegates for 
Kennedy. The promise that won Van- 
diver the governor’s mansion was, “No, 
not one” Georgia school child would ever 
attend a desegregated school. 

Reaction to the slogan was typified by 
Carter cheerleader Andrew Young, who 
flinched when a reporter informed him of 
t. “I haven’t used that slogan,” he was 
quick to note. “I won’t use that slogan.” 

While Kennedy presents no real chal- 
lenge to Carter in Georgia, it is unlikely 
the president’s forces will be able to 
achieve their ‘‘no, not one’’ goal. 
Kennedy stands to pick up at least four of 
Georgia’s 54 delegates. Black support 
should give him the necessary 15 percent 
of the vote to gain delegates in the fourth 
and fifth districts (Atlanta) and in south- 
west Georgia’s second district. The first 
district, with its large Irish Catholic 
population, may also come through for 


_ Kennedy. But in districts like the sev- 


enth and ninth, in the predominantly 
white North Georgia mountains, Kenne- 
dy faces a shutout. While he may aver- 
age 17 percent of the vote statewide, his 
inability to get 15 percent in every con- 
gressional district ‘will prevent his gain- 
ing the 13 delegates that supporters have 
privately hoped for. 

In Alabama, the wild card is not a can- 
didate but a surrogate. For months, 26- 
year-old Robert F. Kennedy Jr. has been 
stumping the state, bringing a personal- 
ized campaign to a people with a historic 
weakness for populist causes. Nick- 
named by reporters “Ruthless Cannon- 
ball II,” young Kennedy has brought to 
Alabama all the flamboyance and charis- 
ma his uncle lacks. 

But the Kennedy campaign has been 
dealt a series of blows in Alabama. The 
first came from George Wallace, who had 
promised to remain neutral but then en- 
dorsed Carter, in January. Shortly there- 
after, his brother Gerald, who was run- 
ning as a delegate-elector pledged to Ken- 
nedy, withdrew without explanation. It is 
speculated that his decision had some- 
thing to do with federal funding for one 
of the former governor's pet projects, the 
University of Alabama at Birmingham. 
More recently, Kennedy delegates have 
been receiving anonymous phone calls 
threatening them with IRS audits and 
“blacklisted” credit ratings if they fail to 
change their political allegiance. Because 
of the privileged nature of the informa- 
tion the anonymous callers apparently 
possess, it is assumed they are working 
from one of three existent copies of the 
master list of delegates. The Carter and 
Kennedy campaigns each have one copy, 
the third rests with the state Democratic 

arty. 

Uniess Bobby Kennedy has managed 
to build the “grassroots groundswell” he 
has been talking about for weeks, Carter 
will probably win 23 of the 31 delegates 
in Alabama. But, a large pro-Kennedy 
turnout in the sixth district (Birming- 
ham) and in the southeastern district (in- 
cluding Montgomery) could add to the 
senator's delegate roster. 

Carter could take both states and still 
“lose” badly on Tuesday. If a significant 
percentage of the Democratic vote stays 
home or votes Republican, and if more 
than a third of Georgia’s black voters de- 
fect from the Carter camp, then the presi- 
dent is in serious trouble. In order to be a 
realistic general-election candidate in the 
fall, Carter must be able to maintain the 
same broad support he enjoyed in 1976. 
If he cannot, the door may be open for a 
Republican Dixie victory in Novemter. 


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THE BOSTON PHOENIX, MARCH 11, 1980 


10 


Personally... 
My daughter, 


myself: 


Sugar and puppy-dogs’ tails 


by Alan Lupo 


s I write this she’s in the 

next room. She’s jogging, 

bouncing up and down, 
while her long hair flops up and 
down over the back of a blue jer- 
sey, the front of which features a 
snowman and the word “Decem- 
ber.” 

I don’t know why she’s jog- 
ging. She’s been putting herself 
through a rigorous set of exer- 
cises every night, or every night 
that she remembers to do so. I 
don’t care why. It’s healthy. If she 
stabbed a nun or shot a rabbi, I’d 
inquire. Exercising? Why not? 

A half-hour earlier, her 
brother, with the benefit of one 
gym-class lesson in wrestling, 
was wrestling with her. He came 
downstairs flushed with victory 
for himself and pride for his 
sister. 

“She's good. I had to keep ex- 
plaining different things, but 
she’s strong. She could probably 
beat anybody in her grade.” 

It is the ultimate compliment. 
What greater accolades can she 
desire, this 10-year-old lover of 
Miss Piggy (and of all cats, and of 
a stuffed monkey who goes by 


the handle of Herman) — this. 


president of an unnamed four- 
member club? 

“Obey all rules,” she warned 
the other members in written in- 
structions. Perhaps it’s her Ger- 
man heritage. She is Jewish and 
Catholic, if rules are strictly ap- 
plied. She is the result of chem- 
istry that mingled the blood of 
Irish, Russian, English, Roman- 
ian, and German. Dammit, she is 
good. 

She also has a natural and 
powerful left jab and right cross. 


(This article appeared in the 
February issue of Ms. magazine.) 


She's tall, big-boned, blue-eyed. 
She’s my welcomed dichotomy, 
my petunia, and my linebacker. 

In her shy moods, she kisses 
my shirt. ‘‘Yechh,’’ I yell. 
“'Whaddya want to do that for? 
My shirt is dirtier than my face.” 
She giggles. _ 

In her other moods, she will 
suddenly hug me and kiss my 
jowly face that sprouts a shadow 
within a half-hour of shaving. 

How do you write about such 
things? A long time ago in the 
newspaper business, they told us 
not to use adjectives. Use facts 
and quotes, they said. Let the 
facts and quotes speak for them- 
selves, they said. 

When she kisses me, it is sweet. 
There. For Alyssa, I break the 
rules and use an adjective. Let the 
great copy editors in the heavens 
chalk a smudged pencil mark 
against my name. Nothing's too 
good for my kids. 

I said my kids. There are two, 
one of each brand. This is sup- 
posed to be about the female 
brand, not the male brand. He al- 
ready has yelled foul, discrimi- 
nation. I cry no such thing, but I 
am troubled. How do you write 
about one and not the othér when 
you cherish both? 

That’s the key, maybe. That's 
the whole point. One is a boy; 
one is a girl. One is older; one is 
younger. One is a string bean, a 
monkey; the other a bull with a 
grin, a bull who will persist but 
looks forward to cuddling up 
under a tree and smelling the 
flowers. Still, the key is that they 
are equal: nothing more, nothing 
less. 

This fall she played soccer, her 
brother’s favorite sport. Like her 
father, she could do with a bit 
more coordination, but she’s got 
the power. 


Katherine Mahoney 


Alyssa Rose Lupo; that Rose in 
her name is for her great-grand- 
mother, whom she never met, a 
Russian Jew whose legacy is 
kindness and compassion. 

The kid has inherited it. In the 
one fistfight she got into one 
summer with a boy, she half- 
heartedly slugged him a few times 
and said each time, “I’m sorry.” 


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She was. She does not wish to 
hurt anyone. And she does not 
wish to be hurt by anyone. 
Unlike her brother, the used- 
car salesman, she agonizes over 
real or imagined errors, sins, pain. 
But I can’t shelter her. Let her 
learn to stick her chin out as far as 
any man’s. I can encourage her 
not to be a proper little lady but to 


be a proper human being. 

Those people who see her 
photograph sometimes say, “‘Oh, 
you're going to have trouble 
when she gets older.”’ I guess they 
mean boys will want to take her 
out on dates. I guess they will. I . 
hope they will. I don’t wish for 
either kid to be as lonely as I and 
others of my time so often were. 


DON 


Saturday, 


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At some point, her mother and 
I will talk to her about the shades 
of adolescence. I haven't figured 
out the lesson plan yet. 

For a couple of years, I hardly 
knew her at all. Because of the job 
I had and the time it took, I 
missed her transition from baby 
to kid. Later on, I spent a lot more 
time at home. I’d be there when 
she got back from kindergarten, 
and we'd have lunch together. 

“We saw a movie today.” 
Slurp, drink, chomp, swallow. 

“Yeah?” I answered with more 
enthusiasm than I felt. ‘“What 
about?” 

“An elephant.” Chomp, slurp, 
chomp, swallow. 

“What happened to the ele- 
phant?”’ 

Between chomps and slurps, 
she told me some disconnected 
story that trailed off when she 
forgot the rest or lost interest. I 
went back to my newspaper. Si- 
lence. 

“You know how it ended?’”’ she 
suddenly asked. 

I really wanted to know by 
then. how?” 

“With music. Very loud 
music.’’ Chomp, swallow, slurp. 

The kid has always had a 
healthy respect for basic facts. 
She might miss the message, a 
punch line, but she remembers 
details, almost all the lines in 
Superman, the room: number of 
the motel near Disney World. 
Quietly, she stores it all away. 

I’ve tried to make up for the 
lost time. I try more to enjoy the 
present. I go to the elementary 

school on the designated after- 
noons for parent conferences and 
talk to the teacher and beam at my 
kid’s desk, chair, artworks, and 
compositions. 

Occasionally, we have a day to- 
gether. She was home, ill, one 
school day last week. She had 
eaten, by 9:38 a:m., two break- 
fasts, one consisting mainly of 
peanut butter, and the other of 
tomato soup. She would later 
have two lunches and a two- or 
. three-stage dinner. Yes, of course, 

snacks — would you let a child 
starve between meals? 

We were talking — mainly, she 
was talking and I was listening — 
and she started telling me about a 
commercial for some kind of 
office machinery that allegedly 
saves labor. The pitchman had 
concluded his sell by identifying 
the institution of the office secre- 

‘tary as He hadn’t counted 

on this 10-year-old (and I hope 
many others) who has stored 
away lots of information in her 
little noggin and who responded, 
“He said ‘she.’ ’’ And with that 
sneering tone which only the very 
young can manage so elo- 
quently, she asked, “Why do 
people always think only girls can 
be secretaries?” 

Maybe we are. progressing 
some. 

On the day she was born, a 
Japanese man tried to stab our 
ambassador in Tokyo. On the day 
her brother was born, the Viet 
Cong had shelled Saigon, killing 
at least seven people and wound- 
ing 26. On the day I was born, 
half a million followers of Benito 
Mussolini cheered Hitler’s visit to 
Rome. 

I have told her that despite all 
this, the world would endure. I 
refus€d to apologize for having 
helped bring her into it. I asked 
her not to accept it as a defective 
gift toy, but to try and change it 
in her own way. 

Alyssa Rose Lupo and I walk 
together, her left hand in my 
right. We talk of silly slapstick 
routines and of books, of right 
and wrong. We talk about the 
world as each sees it. We do com- 
edy bits with Herman the stuffed 
monkey. Alyssa’s laugh is bound- 
less, overpowering. 

I hope that when she is at that 
age, when others say she will give 
us trouble, that whatever 
trouble’ arises will be over- 
powered by our friendship. I 
hope that we can still walk to- 
gether, that she will still have 
cause to laugh. 


LL 


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from New York City 
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THE NEIL McGEE BAND \ oo. 
Sound System $4 


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THE EXPLOSIONS 


CAPE COD COLISEUM 


Saturday, May17 7:30 P.M. 
Tickets: $8.50 in advance, $9.50 day of show 


TICKETS WILL NOT BE AVAIBLE AT CAPE COD COLISEUM BOX OFFICE. Tickets available at Ticketron, Elsie's - 
Ticket Agency, Kenmore Sq. & Harvard Sq., Out of Town Ticket Agency, Harvard Sq. & Strawberries, 
Store 24 (B.U. & 281 Huntington Avenue.), Concert Charge (all charge cards accepted) 426-8181. 


21 


DON LAW 
iN association with 
F-105 
FM RADIO 
PRESENT 


Tickets available at BOSTON GARDEN Box Office, 
Ticketron, Elsie's Ticket Agency, Kenmore Sq. & Harvard Sq., Out of Town Ticket Agency, Harvard Sq. & 
Strawberries, Store 24 (B.U. & 281 Huntington Ave.), Concert Charge (all charge cards accepted) 426-8181. 


Dirty looks 
March 8 8:308&11:00pm $4.50 


GARLAND JEFFREYS . 
A. Whitney Brown 
March 9& 10 8:30 pm 
$6.50 in adv.,$7.50 day of show 


O861 ‘Lt HOUVW ‘XINJOHd NOLSO@ 


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THE RAMONES 

Necessaries 

March 11, 12,13 8:30pm 


LENE LOVICH 
Bruce Wolley & the Camera Club 
March 14 8:30 pm 
March 15. 8:30 & 11 pm 
March 16 8:30 pm 
$6.50 in adv., $7.50 day of show 


UNNATURAL AXE 
RINGS 


THRILLS 
March 17 8:30 pm = $3.50 
“St. Patrick's Day Blast” 


$7.50 


JOHN LEE & GERRY 
BROWN & RODNEY 
FRANKLIN 


March 18 8:30pm $3.50 


TOWNES VAN ZANDT 
Larry Flint Band 


March 19 8:30 em $3.50 


SHANE CHAMPAGNE 
March 20 8:30pm $3.50 


SASS 
8:30 pm....$4.50 


STOMPERS 
Duke Robillard 
March 22 8:30pm $3.50 


PRETENDERS 
March 23. 8:30 pm 
$3.50 in adv., $4.50 day of show 


LAQUIDARA 


Rage 
March 24 8:30 pm 


$3.50 


RICK DERRINGER 
March 26 8:30 pm 
$5.50 in adv., $6.50 day of show 


SQUEEZE 
Wazmo Nariz 
March 28, 29 8:30 pm 
$5.50 in adv., $6.50 day of show 
positive ID for drinks, under 20's 
can come 


and 2 
DAVID JOHANSEN 


The Box office opens daily from noon to 6 
PM. Tickets also available at Ticketron Out-of- 
Town, Strawberries, Graoia Ticket Agency in 
Worcester, Open Door in Brockton, Ticket 
Center in Acton and Concord and Eisie’s 
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12 


THE BOSTON PHOENIX, MARCH 11, 1980 


Continued from page 6 

ordinated by Thomas Matthews, a Wash- 
ington political consultant who is also do- 
ing some direct-mail work for the Ken- 
nedy campaign. In the beginning, the re- 
sults were so dismal that one local oper- 
ative reported that when ‘we got $300 
into the headquarters in two weeks, that 
was a big deal.”’ 

The crucial moment for Anderson’s 
treasury and thus his candidacy was the 
nationally televised candidates’ forum 
that preceded the Iowa caucuses. For the 
first time, people got to see John Ander- 
son without having to have been born in 
or around Winnebago County, Illinois. 

“It was that Iowa debate,” recalled 
Matthews. ‘’That provided the stage for a 
stark contrast between Anderson and the 
other Republican candidates.” 

The basic Anderson fund-raising let- 
ter is essentially the same as his pitch 
from the stump: that Americans are look- 
ing for a serious candidate who will speak 
honestly to them on the issues. 

Many political observers feel that this 

approach has enabled Anderson to gauge 
current political sentiment. ‘Even though 
Bush won (in Massachusetts),’’ ex- 
plained a local political consultant, “the 
ideological pairing (of Anderson and Rea- 
gan) is bad for him. All Bush kept talk- 
ing about on the day after the primary 
was how he was in the middle. He kept 
repeating something about ‘viability.’ 
Well, the American people aren’t in the 
middle. They want answers. They want 
people to solve their problems.” 
The effectiveness of Anderson’s fund- 
raising program has increased drama- 
tically in the past several weeks and is 
likely to continue to. The national staff is 
being expanded daily, the most recent ex- 
ample being the hiring of Dick Stout, a 
former Newsweek writer and a consul- 
tant to Morris Udall’s bid at the 1976 
Democratic presidential nomination. 

(Any such sudden expansion is bound 
to result in an alarming temporary dis- 
orientation on the part of the newer en- 
listees. Stout, an irreverent sort, was 
prowling around the Anderson staff din- 
ner a few hours before the Massachu- 
setts primary, telling people that “I met 
John once back in 1964, when he was 
campaigning for Goldwater.”” When told 
he should meet Middlesex County Sher- 
iff John Buckley, an early Anderson 
booster, Stout opined, “It’s always nice to 
meet the sheriff, but I think I should in- 


WideWorld 


troduce myself to the candidate first.”’) 
What the Anderson campaign has done 
is set up a network of small donors 
around the country. “Small donations 
don’t go away,” explained David Thorne. 
“They keep supporting you. It’s build- 
ing rapidly and very strongly.”’ It is a sys- 
tem not unlike those devised by George 
McGovern and, earlier, George Wallace. 
Ironically, not a few Anderson techni- 
cians see a fundamental similarity be- 
tween their candidate’s appeal and that 
which the former Alabama governor used 


Anderson with his wife, Keke: ‘He should be saying, ‘I am the mainstream.’ 


to exude. They say the contributions re- 
flect this. 

“We've got a steadily growing ability 
to attract small amounts of money from a 
huge number of people,’ explained Tom 
Matthews. ‘What you're looking at is a 
genuine political phenomenon equiva- 
lent to what Wallace touched a few years 
ago. It’s the genuine, spontaneous adop- 
tion of a man offering something they've 
wanted for a long time.” 

Wallace, of course, never successfully 
translated his phenomenon nationwide, 


and it remains to be seen if Anderson will 
be. any more effective. In Massachusetts, 
for example, only about eight percent of 
his vote represented registered Republi- 


cans. He was helped immeasurably by the 


turnout of 10 percent of the state’s inde- 
pendent voters (as opposed to the norm 
of between two and three percent). Ac- 
cording to NBC’s post-polling results, 50 
percent of the total Republican vote in 
the Massachusetts primary was com- 
posed of independent voters, and of that, 
Anderson received 46 percent. 

Consequently, there is a feeling among 
many Republicans that Anderson may 
not have sufficient appeal to the main- 
stream of the party, a theory that Ander- 
son himself finds puzzling. ‘I would as- 
sume that a party which has for years 
tried to broaden its base would welcome 
this sort of result,’’ Anderson told a Bos- 
ton press conference the day after the 
Massachusetts primary. “This ought to 
make many Republicans very happy. Af- 
ter all, I’ve often heard Governor Reagan 
say that he was proud of the Democrats 
who voted for him.” 

“If I were writing Anderson’s strategy 

now,” said @ local political analyst, ‘I'd 
fight the impression that he’s left. He’s 
not left just because he thinks the ERA is 
a good thing. He should be saying, ‘Hey, 
I’m not left. I am the mainstream.’ 
' Anderson is eschewing most of the 
Southern primaries, although he has an- 
nounced his intention to mount efforts in 
North Carolina, Virginia, Tennessee, and 
Kentucky. 
- What is clear, though, is that Ander- 
son has staked his newfound status as 
contender and, through it, the survival of 
his candidacy, squarely on the states of II- 
linois and Wisconsin. He obviously hopes 
that Bush will be crunched in Florida. 
Anderson would then present an even 
stronger image as the clearest alternative 
to Reagan. 

It is likely that his campaign will con- 
tinue to attempt to portray him as the un- 
derdog he was before the Massachusetts 
and Vermont primaries, a dogged mod- 
erate trying to make a go of it among con- 
servative heartland Republicans. But this 
is a line ghat should not go down any- 
more. 

Anderson, in one of the more perverse 
twists in an utterly strange political year, 
finds himself in better financial shape 
than Reagan. Through a masterpiece of 
bad management, Reagan has already 
spent $11 million of the $18 million that 
federal law allows him to spend in pur- 

Continued on page 14 


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14 


THE BOSTON PHOENIX, MARCH 11, 1980 


Anderson 


Continued from page 12 

suit of the nomination. He thus 
faces 20 primaries with a budget 
of $7 million. 

Further, Anderson is now com- 
mitted to two states that appear to 
be uniquely suited to the kind of 
crossover-voting, Coali- 
tion” candidacy he worked so 
hard to develop and sell in New 
England. Certain factors com- 
mon to both states seem to favor 
him so heavily that, should he do 
poorly in Illinois and/or lose Wis- 
consin outright, the question will 
legitimately arise as to where else 
he can win. 

One of the enduring myths east 
of Lake Erie is that of the Illinois 
Republican Party's hidebound 
conservatism. But recent history 
indicates that, however con- 
servative the rank and file may 
be, they evince a startling ten- 
dency to line up behind the 
party’s moderate politicians. 
Senator Charles Percy and Gov- 
ernor James Thompson are only 
the obvious examples. ‘The idea 


that there is a Taft-Colonel 
McCormick streak virulent in the 
Illinois Republican Party,’’ says 
one Midwestern political opera- 
tive, “is absolutely not true. 
Goldwater discredited that kind 
of thing and, by the 1970s, even 
the Chicago Tribune had moved 
left.”’ 

“Most Illinois moderates who 
have won have done it through 
independents and crossover 
votes,’ explained Joel Weisman, a 
Chicago political analyst. ‘‘The 
formal party structure is very 
conservative, but the leaders 
aren't.” 

Much of this behavior has its 
roots in the Republican tradition 
of closing ranks behind their par- 
ty’s candidate in the face of the 
Cook County (Chicago) Demo- 
cratic machine. Conservative Re- 
publicans, then, are likely to be 
Republicans first and conserva- 
tives second. 

The custom of crossover vot- 
ing in this regard should be ex- 
ploitable by the Anderson cam- 
paign. It is even easier to change 
parties there than it is in Massa- 
chusetts, where one has to regis- 
ter in one party or the other be- 


fore the primary. In Illinois, the 
voter simply takes the preferred 
ballot. 

Media fascination with An- 
derson has preceded him into II- 
linois. Mike Royko of the 
Chicago Sun-Times, perhaps the 
country’s most influential urban 
columnist, endorsed Anderson 
with an encomium several 
months ago. ‘Adding up his 
qualities,’” Royko wrote 
presciently on January 20, ‘‘you’d 
imagine that he would be a 
leading contender for his party's 
nomination, and would be 


making a lot of Democratic liber- - 


als and independents think about 
crossing party lines. 

“T don’t know if Anderson is as 
strong a swimmer as Teddy,” 
Royko concluded, “but he can 
complete a sentence without 
swallowing his tongue.” And II- 
linois is, after all, Anderson's 
home state. 

Ironically, two elections, both 
of them on the Democratic bal- 
lot, may have an effect on all the 
Republican candidates, but most 
directly on Anderson. One sce- 
nario has Edward Kennedy com- 
ing into Illinois after a savage 


beating in the South, simply play- 
ing out the string. ‘Anderson 
might get just enough to take the 
state,”’ said a Chicago political ob- 
server, ‘if Carter comes in here as 
the obvious future nominee. It’s 
nowhere near neck-and-neck. 

Carter’s ahead two-to-one right 
now. And some Kennedy voters 
may just pick up that Republi- 
can ballot.” 

“If there is a lack of interest on 
the Democratic side,’ agreed 
another expert, ‘the crossover 
factor will definitely grow.’’ In- 
deed. 

The other election influerfcing 
the presidential primary is that 
for the Cook County state’s at- 
torney. Chicago Mayor and erst- 
while Blues Brother Jane Byrne 
has nominated one candidate. 
Stephen Daley, son of the late 
mayor and heir apparent to the 
old machine, is opposing Byrne’s 


“nominee. The possibility exists 


that this race may keep many 
Democratic voters in Cook 
County from taking a Repub- 
lican ballot. “They'll stay if they 
feel strongly toward one or the 
other camps,” said Joel Weis- 
man. 


Rock ’n’ Ronstadt 


& Tune in to April PLAYBOY, where 
mm this month Linda Ronstadt turns 
& up the volume in a typically un- 
abashed Playboy Interview. 
You'll find out what she has to 
say about her new style, her 
past music and her current 
boyfriend, Jerry Brown. Then 
switch over to The Yearin 
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Yet distaste for both machines 
may militate against this. “There 
are a lot of independents in the 
‘collar counties’ around Cook,” 
said Weisman. And it is not un- 
likely that liberal Democrats in 
Chicago will call a pox upon both 
houses and vote Republican as a 
protest. 

Ever since January, the Chi- 
cago Sun-Times and TV station 
WMAQ have been polling the II- 
linois voters. The last Republi- 
can sample, taken in mid-Febru- 
ary, showed Bush with 32 per- 
cent, followed by Reagan with 25 
percent; Anderson checked in 
with only 6.8 percent. But those 
close to the poll agree that the 
next sample (to be taken this 
weekend) is likely to show a 
marked difference, conforming to 
trends seen around the country. 

“We've got to characterize 
Bush’s lead as fragile,’’ said a 
source close to the poll. ‘It de- 
pended a lot on image questions. 
‘Would you vote for this man?’ 
That kind of thing. On specific 
issues, his appeal dropped off 
dramatcally. Only 22 percent said 
they thought he’d do a good job 
on inflation. Reagan, for exam- 
ple, was closer to 50-50 with 
image and issues.” 

Anderson, then, must count on 
his increasing national visibility. 
“Hell,” said one of his Illinois as- 
sociates, ‘“you’ve got to remem- 
ber that John was only known to 
about 1/24th of the state. People 
are at least talking about it.’’ 

Reagan’s support downstate, 
which failed to carry Illinois for 
him against Ford, in 1976, may 
well be strong enough to hold it 
for him this time around. But if 
Bush continues to slide, there is 
no reason to think that Anderson 
should be satisfied with any- 
thing less than a strong runner- 
up placing. ° 

‘‘He clearly has the chance for a 
strong second-place showing, 


since he hasn’t been that organ- _ 


ized here that long,” said an as- 
sociate of Anderson's. ‘‘Hey, his 
organization in Wisconsin was 
stronger a year ago than his IIli- 
nois one is now.” 

Wisconsin, quite simply, 
should be John Anderson’s best 
stage. His home district, around 
Rockford, Illinois, is part of a 
rural intersection of common in- 
terests and values, composed of 
northwestern Illinois, northeast- 
ern Iowa, and southwestern Wis- 
consin. And like much of the re- 
gion’s population, Anderson is 
Scandinavian. (In fact, one of this 
year’s nagging mysteries is why 
Anderson didn’t campaign harder 
in Iowa, given this geographic 
kinship. “If you can drive to 
Rockford,” said one observer fa- 
miliar with the area, ‘‘you can 
drive to Dubuque.”’) 

As in Illinois, the local media 
caught onto Anderson early. The 
Madison Capital-Times, a dread- 
ful but influential daily, is plan- 
ning to endorse him. And even 
more than in Illinois, crossing 
over in Wisconsin is a tradition of 
which the state’s voters are 
proud, and one that drives out- 
of-state field organizers to bab- 
bling every four years or so. 

“I see a big Democratic vote for 
Anderson in this state,” said a 
Wisconsin political expert. ‘‘So 
much so that it may be a bigger 
problem for Kennedy than vice 
versa. And Brown’s campaign, as 
near as I can tell, is in almost to-, 
tal disarray. I spent three hours 
on the phone trying to find it.” 

Significant with regard to An- 
derson’s chances, however, is an 
election that took place two years 
ago. Republican Lee Dreyfuss 
started in almost total obscurity. 
In a debate in which two of the 
other three candidates refused to 
participate, Dreyfuss made a 
statewide impression. In June, he 
lost the state convention’s en- 
dorsement, but ran in the Sep- 
tember primary. He won the pri- 
mary 58 percent to 42 percent. 
With the help of a number of 
Democratic voters, Lee Dreyfuss 
Continued on page 18 


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nologically. 


Anderson 


Continued from page 14 
won the general election and is now gov- 
ernor of Wisconsin. 

“The way Anderson is running is al- 
most eerie,’ said Bill Krause, a Dreyfuss 
aide. “It’s like watching a replay. The 
Bush organization is more traditional; it’s 
brute force against noise. In Wisconsin, 
it’s always safe to bet on noise. Ander- 
son’s a maverick. We like mavericks up 
here.”’ 

Right now, most Wisconsin political 
analysts give Anderson a slight edge. “If 
Kennedy ran badly,” said one, “he (An- 
derson) could win overwhelmingly.” 

’ The popular image of Wisconsinites is 
that of placid farmers who emerge from 
the silo, wipe their shoes carefully on the 
town-hall porch, and vote their tradi- 
tional values. The farmers in Wisconsin, 
however, are dairy farmers; they hold to 
the traditional values of the land, but they 
are also extremely knowledgeable tech- 
“They are very well-edu- 
cated and politically sophisticated,’ said 
one Wisconsin political observer. ‘’An- 
derson is the only guy I’ve seen who can 
negotiate that area between the tradi- 
tional farm values and the high innova- 
tion of the region. He obviously knows 
farm politics, or he wouldn’t have come 
out for the grain embargo in Iowa. He 
was the only one sharp enough to know 
that that would fly. Farmers are patri- 
ots.’ 

* * * 

After Illinois and Wisconsin, Reagan 
goes west and to his strength. Which has 
prompted speculation as to what the An- 
derson campaign can do even if it scores 
well in the two states. One of the signs 
that Anderson has gained respect 


‘through his New England performance is 


that not-too-subtle rumors are floating 
about regarding his availability as a third- 
party candidate in the general election. “I 
have certainly not engaged in that kind of 
speculation,” he told a Boston press con- 
ference. ‘However,’ he added, “I be- 
lieve that issues are so important that 
they transcend the narrow, traditional 
methods of gaining the nomination.” 


_ Michael Grecco 


Usually, one promises diplomatically to 
“support the party’s choice” in reply to 
such questioning. 

One consultant rumored to have been 


contacted by the Anderson campaign as a’ 


possible adviser to an independent presi- 
dential bid denied the report, but added, 
“T’ll tell you this: if ever there was a year 
for an independent candidacy, this is it, 
particularly if the choice is Carter-Rea- 
gan.”” That Anderson’s people have 
studied the filing dates for the final elec- 
tion indicates that the idea of a third- 
party run has at least occurred to them. 

Before the Massachusetts primary, 
George Bush’s campaign made much of 
Anderson’s role as a spoiler. So much, in 
fact, that genuine dislike has cropped up 
between the two camps. The Anderson 


‘people see themselves as dedicated ide- 


alists and the Bush people as deal-mak- 
ing, devious shams. The Bush people, on 


the other hand, like to portray them- . 
selves as reasonable, accommodating — 


moderates faced with the sanctimonious 
self-righteousness of the Anderson camp. 
At the very least, God knows, it livens up 
Republican politics. 

During his second trip downstairs to 
the Constitution Room at the Sheraton on 
primary night, John Anderson wound up 
in the style of the preacher he is. 

“| don’t believe I am a spoiler,” he told 
them. “Is it being a spoiler to offer hon- 
est new ideas to our problems?” 

“No!” the faithful replied. 

“Is it being a spoiler to get away from 
the stale old rhetoric?’ -he asked. . 


No!” they replied. 

“Is it being a spoiler to reinvolve the 
young people of America in the political 
process?” he asked. 

“No!” they replied; not a few among 
them were applauding themselves. 

At a private meeting earlier that night, 
Anderson told his Massachusetts cam- 
paign staff that ‘people come to believe 
in you. This is the thing that keeps you 
going. It becomes literally a charge upon 
you that you cannot lay aside.”’ 

Cheers following him, John Anderson 
left the podium. He would awake the next 
day a tantalizingly close second in two 
states. But in the odd definitions of this 
political season, he had clearly won. 


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Florida 


Continued from page 7 

debacle as the Nashua debate 
cost Bush dearly, according 
to Florida Republicans of every 
ilk. John Connally’s Flor- 
ida chairman, Ander Cren- 
shaw, who manages to be objec- 
tive despite his affiliation, 
believes a Bush victory would 
have been possible here only as 
“part of a massive national move- 
ment that would sweep him in 
without people taking a close 
look.”” The New Hampshire flap 
and subsequent defeat destroyed 
that possibility. ‘He really hurt 
himself more than he knows with 
that debate in New Hampshire,” 
said state House Minority Leader 
Kurt Kiser, who was chairing 
Howard Baker’s campaign. The 
problem, Kiser said, was that 
Bush appeared arrogant. ‘“He’s 
never been much of a commoner, 
and when you get just a taint of 
arrogance, it hurts a lot.’ 

Nor do Republican pros be- 
lieve that Bush helped himself by 
claiming he’d been sandbagged. 
Paula Hawkins, a former public- 
service commissioner and the 
only Republican to win re-elec- 
tion statewide, suggested that to 
voters, Reagan looked ‘‘cool, 
calm, in charge” in New Hamp- 
shire. “He’s looked mature in 
tight spots. In trying times like 
these, it’s what people are look- 
ing for.” Conversely, Bush raised 
doubts about himself, especially 
after the debate. ‘If he was set up 
by Sears,” asked Hawkins, who 
has remained neutral, “do we 
want him dealing with 
Brezhnev?’ Even Jim Baker, 
Bush’s campaign manager, 
concedes that the public percep- 
tion was that Bush lost his 
humility after his Iowa victory. 

Yet Baker believes that lowered 
expectations will serve Bush well 
in Florida. He insists that the polls 
— one of which was in Florida — 
showing Bush with big leads over 
Reagan were “Iowa fluff. We 
were overrated going into New’ 
Hampshire. Secondly, you had 
the Manchester Union Leader 
(attacking Bush), and there’s 25 
percent of the Republican vote in 
Manchester.”” The situation in 
Florida, he projected, would be 
more amenable. 

Not if Florida’s:¢onservatives 
get their way. Having seen the 
advantages of going on the of- 
fensive against Bush in New 
Hampshire, Reagan’s forces are 
maintaining the attack in Florida. 
“These guys play hard ball,”’ said 
an operative for Congressman 
Young, and they’re proud of it. 
Mike Thompson, a Miami ad 
man who is chairman of the 
Florida Conservative Union 
(FCU), boasts of how the FCU 
“savaged Howard Baker down _ 
here” over his Panama Canal 
vote. The FCU is doing similar 
work for Reagan, picking up 
where William Loeb left off. 
“Bush has become an issue,” says 
Thompson. ‘‘The rather pa- 
trician, condescending attitude 
evidenced in Nashua — it’s got a 
lot of people talking.’” To keep 
the talk going, the FCU placed a 
half-page ad in the Miami Herald 
and the Ft. Lauderdale Times on 
Sunday, March 2, and also 
planned to put it in the St. Peters- 
burg Times. The ad highlights 
Bush’s membership on the Tri- 
lateral Commission, a foreign- 
policy organization conserva- 
tives find guilty of the heinous 
crime of ‘‘one-worldism.’”’ “We 
are fanning that flame as much as 
we can,” says Thompson. 
come right out and say, ‘Look, 
he’s a Trojan horse for David 
Rockefeller and the discredited 
Republican liberalism.’ ’’ 

For his part, Reagan has tried 
publicly to play down the 
Trilateral Commission flap, 
evidently aware that the image of 
rabid conservatism will not prove 
valuable in the long run. But he 
may have trouble reining in the 
zealots. Thompson says of liberal 
Republicans, ‘‘They’re a burr 


| 

: 
e 

oe 

SS 

i 


under our saddle, and we'd just as 
soon have them walk out.” Asked 
why, he replied, ‘Forget about 
the past; conservatism is the wave 
of the present. And if it weren't, 
George Bush wouldn't be 
masquerading as one.” 

The Trilateral-Rockefeller ac- 
cusations hurt in that they keep 
afloat doubts about Bush’s true 
beliefs. “I don’t think most peo- 
ple know what the Trilateral 


Commission was,” said Cren- 


shaw. ‘But I think among some 
opinion leaders it cuts. It’s an 
undercurrent that people talk 
about. It ties him into the Eastern 
establishment. Bush tends to 
appeal to the Northeastern stereo- 
type of Republicanism. He’s a 
Yalie, a blue blood. A lot of 
conservatives see that as a little 
bit left, like Rockefeller.”” 

These perceptions cannot be all 
good for Bush, since, for pur- 


‘poses of a Florida-election, they 


tie him a bit too closely to what 
was seen as the Rockefeller wing 
of the party. “You may as well be 
talking about Lucifer down here 
as Rockefeller,” gloats Thomp- 
son. ‘He’s the antithesis of the 
Sunbelt Republican, of the 
Democrat turned Republican.” 

Thompson’s remarks, coupled 
with the results of last Tuesday's 
elections in Vermont and Mas- 
sachusetts — Bush’s narrow 
victory in the latter notwith- 
standing — point up his most 
serious problem. His base was 
winning, and a win is something 
he’s not likely to see in the South 
Carolina primary, which takes 
place just three days before 
Florida’s. In fact, the possibility 
looms that Bush may have slipped 
back into third place there, be- 
hind John Connally. Thus, 
Bush’s centricism at best strikes a 
hollow chord in the absence of 
victories. More than any other 
candidate, he is, because of his 
passion for the middle, victimized 
by the public’s Lombardian: view 
that winning is not everything, 
but the only thing: And all of his 
crinkle-eyed gee-whiz smiles and 
proclamations on nights like last 
Tuesday won't drive the nega- 
tive impact of defeat from his 
door. 

Reagan has no such problems 
with his base. ‘’That’s the great 
thing about Reagan,” says 


Thompson. ‘’There’s:acthard tore: 


of support:that can’t be shaken 
loose, short. of him being 
convicted of child-molesting.” 
The depth of Reagan’s support 
among conservatives gives him a 


substantial edge with the 


Republicans of northern Florida, 
voters whom Thompson 
describes as ‘former Democrats 
who got terribly turned off by 
LBJ, JFK, or got turned on to 
Nixon because of McGovern.” 
However, these voters do not 
account for a substantial portion 
of the statewide Republican total. 
Dade County does, though, with 
a total of more than 125,000 
registered in the GOP. 

Reagan’s Dade organization is 
running smoothly, attempting to 
complete at least one phone call to 
every Republican household in 
the county and walking numer- 
ous precincts door-to-door. 
Canvass results are showing 
strong Reagan support among 
more than 40 percent of those 
contacted, a number that ‘sug- 
gests as significant a victory there 
as he enjoyed over Ford in 1976. 
The only possible chink in the 
united Dade front is in the Cuban 
community, where Bush’s Span- 
ish-speaking son, Jeb, has been 
dispatched to promote his fath- 
er’s CIA background. The Bush 
campaign is also running radio 
and TV commercials on Cuban 
stations. Herb Harmon, a former 
executive director of the Florida 
Republican Party and Reagan’s 
statewide coordinator, admits that 
Bush has made some inroads into 


‘the Cuban community. He says 


Bush’s CIA experience ‘‘is 
probably a plus, and I think that’s 


probably cut our support some- 


what.” 
Continued on page 22 


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Continued from page 21 

Others aren’t so sure. Among 
them are Ken Plante, the former 
state Senate minority leader who 
is Bush’s campaign chairman. 
“The Cubans are a funny group. 
They perceive of themselves as 
extremely conservative. When 
they think of the CIA, they think 
of the Bay of Pigs.” In other 


words, it’s another matter that 
raises doubts about George Bush. 
Like Bush, Edward M. 
Kennedy is being reduced to the 
hope of making minor inroads 
among selected ethnic groups 
within the state, especially in 
Dade County. (The last poll taken 
in Florida showed Kennedy los- 
ing to Carter, 70-14.) “I don’t 
think. we're going to challenge 
Carter here in Dade — no way, 
said Mike Abrams, a holdover 
from the draft-Kennedy move- 


ment in Florida. He said Carter 
“had more innate strength” in 
Florida and used the state’s pols, 
including Governor Bob Graham, 
to stop the draft movement. Al- 
though Abrams said Kennedy 
will do very well among Jewish 
voters, many of whom reside in 
Dade, he added that Carter “has 
got most of the black leadership, 
and he uses federal grants very 
effectively.’’ As usual, the Carter 


-campaign is taking no chances. A 


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state’s black radio stations last 
week. In one commercial, Andrew 
Young speaks admiringly of the 
president’s humanism and leader- 
ship. In another, a black 
announcer, backed by the strains 
of “We Shall Overcome,” points 
out that Daddy King is sticking 
with Carter no matter who runs 
against him. Obviously, the 
Carter campaign wants no stories 
of a Kennedy victory among 
black voters. 

Outside of Dade, Kennedy has 
little hope of stopping a land- 
slide. Bush’s forces, however, 
believe they can cut into Reagan's 
strength in Broward County, 
which includes Ft. Lauderdale. 
That city’s mayor, Republican 
Clay Shaw, who has remained 
neutral, confirms that Bush does 
enjoy some appeal in the 
wealthier climes of Broward, but 
adds, ‘‘You’ve got to remember 
where he started from.’’ Cren- 
shaw assesses Broward as an “old, 
typically wealthy Republican 
community. They’re Reagan. But 
Bush will cut into the country- 
club set.” 

Country-clubber A. Gray Boyl- 
ston, a former Republican state 
chairman who lives in Broward, is 
more skeptical. A Reagan 
supporter who admits that Bush 
has made some progress in 
Broward, he nevertheless submits 
that he doesn’t know “how you 
run an underground campaign, 
but Bush does. I feel there’s some- 
thing going on, but it’s not ob- 
vious.” 

A. Gray Boylston is not neces- 
sarily a colorless fellow. If the 
name sounds familiar, it should. 
In days gone by, his family’s 
farmhouse “was on the site of 
that old hotel on Tremont Street 
— what's the name of it? — the 
Parker House, that’s right!’ he 
said. 

The old A. Gray is with 
Reagan, not because he believes 
the governor is substantive, but 
because he believes the former 
actor has the media skills to reach 
the public “over the heads of the 
knuckleheads: in Congress.”’ 
Perfect. 

Reagan’s media skills are be- 
ing well employed here. In an ef- 
fective 10-second TV spot aired 
in the Tampa-St. Petersburg 
market, Reagan cites John F. 
Kennedy’s-30 percent tax cut and 


brought in federal revenues. He 
says he wants to try such a tax cut 


again. By using the Kennedy con- . 


nection, the spot masterfully ad- 
dresses the Republicans of central 
Florida, many of whom are 
Democrats of old, without 
sacrificing Reagan’s sharply 
drawn image as a tax-cutter. 
With Broward and Dade likely 
to remain firmly in Reagan’s 
camp, Bush must hope for 
victories in the counties of the 
Golden Girdle, where, most 
pundits believe, 
victory for Reagan hangs in the 
balance. To get a flavor for how 
difficult is Bush’s task, it is use- 
ful to know that in three of the 


the margin 


most important of these counties 
— Brevard, Orange, and Volusia 
— Ford lost one last time and won 
the other two by a total of less 
than 4000 votes out of more than 
46,000 cast. And as if this task 
weren't tough enough, there is 
the tale told by a sage Republican 
about the first Lincoln Day 
dinner in 10 years in Polk Coun- 
ty, admittedly one of the more 
conservative counties in the 
Golden Girdle. The dinner was on 
February 22, four days before the 
New Hampshire primary. This 
Republican described the crowd 
as good folks, loose and enjoying 
themselves. Tom Kleppe, former 
Secretary of the Interior under 
Ford and the guest speaker, 
regaled the appreciative audience 
with his story of personal suc- 
cess, growing up from working- 
class roots to make it big in 
Washington. Predictably, he 
talked about how the values that 
he and other people believed were 
the keys to such future successes 
were being eaten away by ‘Carter 
inflation.” And he concluded by 
saying, unexpectedly, that this 
was why he was supporting 
George Bush for president. 

The audience of nice folks 
promptly booed him. 

So that’s what George Bush is 


-up against in Florida. He’s up 


against the plummeting 
mgmentum he suffered after New 
Hampshire and even before. And 
“momentum works two ways,” 
as Jim Baker says. ““When you've 
got it goin’ up, it’s great. When 
it's goin’ down, it’s hard to stop 
sometimes.” John Anderson’s 
“victories” in Massachusetts and 
Vermont were good news and bad 
news for Bush in that regard. The 
good news was that the results 
were not entirely bad; the bad 
news was that the results were not 
entirely good. But at least Ander- 
son took the spotlight off Bush’s 
slide ... for a time. 

Yet even before the news about 
Anderson’s emergence, pundits 
here had given their assessment 
of the likely impact of Mas- 
sachusetts. “If Bush's, per- 
formance falls below expecta- 
tions,” predicted Kiser, ‘‘there’s a 
good chance Reagan will get all 15 
congressional districts, including 
St. Petersburg.”’ In a state where 
the winner of each congressional 
district gets all its delegates, 


unexpected windfall” if’"Ronald Reagan could Snath up 


every delegate in sight: Howard 
Baker’s withdrawal-from the race, 
last Wednesday, might militate 
against such an outcome but does 
not preclude it. Moreover, to the 
extent that Gerald Ford’s loom- 
ing candidacy may encourage 
Florida write-ins, Bush will suf- 
fer further. With Anderson on 
the horizon in Illinois, his home 
state, where he can attract 
moderate support,.and no other 
Southern victories to be had, this 
outcome could leave George Bush 
sweating bullets in the Florida 
sun. 

In other words, given his 
Yankee coloring, George Bush is 
about to get burned. 8 


ALAN HAYMON PRESE 


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THE BOSTON PHOENIX, MARCH 11, 1980 


Public service, private lives 


Forced march: Toward the new, civilian draft 


by Ben Singer 
Few programs that President Carter 
could introduce would have such broad 
public approval as one requiring every 
young man to give a year of service to the 
nation, either i in military or civilian work. 
— George Gallup, 1977 


Ithough current attempts to im- 
A plement mandatory service of any 
kind will surely meet opposition, 
the current patriotic mood, the allegedly 


sufficient. 

The liberal desire to provide extensive 
social services may never have been so 
exploited in such an obvious maneuver to 
beef up the military. However, the com- 
bination of military and social benefits 
may lead middle-of-the-road legislators 
to look to the NYS as a way to kill three 
birds with one stone. #$4.e; to reduce 
youth unemployment, revive the Army, 


-incompetent all-volunteer Army, the 


pressing problem of youth unemploy- 
ment, and a general disenchantment with 
the attitudes of today’s kids suggest that 
the nation is inclined to accepta program 
of mandatory youth service now more 
than in any other peacetime period. Pen- 
tagon brass and congressional hawks are 
turning to the National Youth Service 
(NYS) as a means of satisfying their 
desire for a larger and, in many cases, 


whiter Army without having to deal with. 


the widespread opposition that would 
arise from’an outright revival of con- 
scription. 


Congressmen Paul McCloskey (R-' 


California) and John Cavanaugh (D- 


Nebraska) both have submitted bills that. 


would require all young people to choose 


‘among military service, civilian service, 


or taking a chance in a lottery that would 


be used if military enlistments become in- - 


and upgrade social services. 
_ But there are compelling reasons to 
believe that none of the plans for the 
NYS. will solve any of these problems. 
And more important, NYS, decked out as 
_. a respectable alternative to the draft, may 
well revive mandatory military service all 

the sooner. 

There is strong resistance in Congress — 
Continued on page 26 


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THE BOSTON PHOENIX, MARCH 11, 1980 


NYS 


Continued from page 24 

to continuing the volunteer 
Army on the grounds that the 
quality and quantity of man- 
power are inadequate. Reserve 
forces are currently 10 percent 
below authorized levels, and 
enlistees too often are poorly edu- 
cated. Forty-four percent of male 
Army enlistees last year did not 
have a high-school diploma, and 
the Pentagon complains that en- 


Boston Sunday Review 
is a fasci summary of the 


listees lack special skills and are 
hard to train. 

Observing that the Army is 
disproportionately black (35 per- 
cent of the Army is black; 12 per- 
cent of the civilian population is), 
many critics say that the volun- 
teer Army relies on “economic 
conscription” to fill its ranks, 
since often the only alternatives 
underprivileged youths have are 
unemployment and poverty. 
Cavanaugh says, ‘‘We have been 
using the all-volunteer Army as a 
social safety valve to relieve our 
society from the consequence of 


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our failure to provide true 
equality of economic and em- 
ployment opportunities for this 
nation’s minorities.’’ Cavanaugh, 
apparently, would rather use 
America’s youth to provide a 
safety valve for the Army’s prob- 
lems. 

But is the Army inherently in- 
competent, or simply mis- 
managed? The argument that the 
volunteer Army’s large percen- 
tage of minority-group members 
and/or underprivileged people is 
pushing it to the ragged edges of 
viability’’ (as Democratic Senator 


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Sam Nunn of Georgia, chairman 
of the Manpower and Personnel 
Subcommittee, has put it) is self- 
serving. Minority representation 
is no higher, and the average IQ 
no lower, in the Army than they 
were in the Vietnam-era Army 
that pleased hawks so much. 

Incentives to enlist have not 
kept pace with opportunities in 
the private sector. Since the real 
spending power of Army per- 
sonnel has dropped 15 percent 
since 1972, it is no wonder that 
reserves are 10 percent low and 
that the Army gets poorly edu- 
cated volunteers. Wages would 
have to be raised before the argu- 
ment that reserves are insuffi- 
cient can be taken seriously. 

Under McCloskey’s National 
Service Act, all 18-year-old males 
and females would have to make 
one of four choices: enlist in the 
military for two years and earn 
four years of educational bene- 
fits; perform six months’ service 
followed by five-and-a-half years 
of reserve obligations; do one 
year of service in a civilian 
capacity; or be placed in a lottery 
for six years of draft liability. 
Those picked in the lottery would 
serve two years’ active military 
duty and earn only two years’ 
benefits. 

Cavanaugh’s Public Service 
Act also features carrot-and-stick 
inducements to encourage mili- 
tary enlistment. Under his bill, 
military service would last for 
only 18 months and earn four 
years’ educational benefits, while 
civilian-service registrants would 
work for two years and, as in Mc- 
Closkey’s bill, have nothing to 
show for it later. Cavanaugh’s 
lottery would expose registrants 
to only six months of ‘’a ran- 
dom-selection process” for in- 
duction into either military or 
civilian service. 

Although McCloskey and 
Cavanaugh say NYS is needed 
primarily to reform what they call 
the ‘incompetent’ volunteer 
Army, it doesn’t seem that their 
bills would do much to alleviate 


‘the Army’s troubles. It is 


doubtful whether mandatory 
youth service would change the 
Army’s racial or educational 
balance. If either bill became law, 
a large majority of well-educated 
middle- and upper-class youths 


would:ikkely choose the 


civilian service. Since educa- 
tional benefits, attractive to the 
poor and uneducated, would be 
offered exclusively to those 


_ choosing military service, civilian 


service and the lottery would not 
be economically feasible for many 
minority-group and underprivi- 
leged youths. 

Both McCloskey and 
Cavanaugh say the lottery would 
be used only-if manpower quotas 
were not met by registrants 
choosing military service. About 
one-fifth of the two million males 
who turn 18 each year would 
have to choose military service to 
fill the Pentagon’s quotas (which 
are about as likely to remain 
stable as gasoline prices). Since 
NYS soldiers would receive only 
subsistence wages — consider- 
ably less than what soldiers cur- 
rently receive — most youths 
would probably choose the lot- 
tery so they could hold higher- 
paying jobs in the private sector. 

Military enlistment would also 
probably be lower than Pentagon 
expectations simply because of 
American youth’s inevitable 
opposition to being coerced into 
national service. The desire to 
serve is undermined when service 
becomes compulsory, and even 
the notion that one out of every 
five males wants to join the Army 
seems overly optimistic. 

The NYS system’s resulting 
dependence on the lottery would 
create a military more troublesome 
to the Pentagon than the current 
Army. Similarly, one could 
hardly expect civilian workers 
who were forced into that 
capacity by the uncertainty of the 
lottery to perform social services 


NYS is also hailed as a way of 
curing youth unemployment, 
which runs at 12 percent for 
white youths and 40 percent for 
black youths. However, a new 
force of tens of thousands of 
civilian workers would seriously 
reduce job opportunities in other 
areas of the private sector. 
Cavanaugh’s plan requires every 
federal agency to “designate a 
minimum of five percent of its 
employment positions to be filled 
by public-service registrants.’ 
Unless new areas of social service 
are provided by the NYS — a con- 
sideration addressed in neither 


bill — youth unemployment 
would only be shifted to other age 
groups. 


Support for the NYS has been 
building recently because people 
see it as a way of avoiding a con- 
ventional draft. Columnist Neil 
Pierce acclaimed it as “the best 
alternative for the draft.’’ How- 
ever, President Carter and most 
Pentagon and congressional offi- 
cials who have spoken on the 
subject say that if a draft were 
necessary, they would prefer a 
Selective Service System offering 
alternatives to military service. 
The critical choice, therefore, is 
not between the NYS and a mili- 
tary draft, but between the NYS 
as a permanent fixture of our 
society and the NYS as a strictly 
wartime program. The current 
NYS bills were written long 
before the events in Afghanistan 
brought about speculation that a 
draft would be reinstated soon. 
And anyway, a military draft is 
probably a long way off. It would 
be unfortunate if support for the 


NYS as an alternative to the draft - 


helped bring about sooner the 
very violation of personal free- 
dom its opponents are trying to 
avoid. 

The most extensive study on 
NYS, Youth and the Needs of the 
Nation, published by the Potomac 
Institute states the argument in 
favor of NYS this way: “ Ameri- 
cans (are) wondering and 
worrying about Saturday night 
fever, unemployment, the new 
narcissism, and other afflictions 
of American youth.... Too 
many sons and daughters of the 
suburbs are drifting without pur- 
pose, apathetic, self- 
centered.... The problem may, 
even begin at home, where chil- 
dren are no longer so often 
required to undertake regular 
chores and do necessary work in 
the house, in the yard, or on the 
farm.” 

Massachusetts Senator Paul 
Tsongas, who endorses Youth 
and the Needs of the Nation, has 
introduced a bill designed to pro- 
mote interest in a voluntary NYS 
system. Proponents of such a 
system are likely to get a free ride, 
in terms of study and program 
funding, by the importance of the 
NYS as a military maneuver. 
Before a mandatory-service pro- 
gram could go into effect, a series 
of increasingly large pilot volun- 
teer-service programs would 
almost certainly be implemented, 
so that public opposition would 
be appeased. 

On its own merits, though, the 
idea of forming a voluntary NYS 
program seems unworthy of 
serious attention. There are 
already plenty of volunteer pro- 
grams — considerably too many 
in relation to the number of 
people willing to volunteer, in 
fact. Furthermore, any broad- 
based volunteer system would 
reach only those people eco- 
nomically able to volunteer — in 
other words, the middle class, 
which isn’t exactly the group 
most in need of the $3 to $5 
billion that the Congressional 
Budget Office estimates a large 
voluntary NYS program would 
cost. Given the current emphasis 
on reducing superfluous govern- 
ment, it is hard to see a program 
that would encourage the ‘‘spirit 
of service” while in effect main- 
taining the status quo as any- 
thing but a stepping stone to 


effectively. mandatory youth service. e 


| 
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THE BOSTON PHOENIX, MARCH 11, 1980 


§ 
2 
w 

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Sporting eye 


Sullivan: he isn’t talking. 


by Michael Gee 


INTER HAVEN, FLORIDA — The 

first week of spring training is 

a cross between your first week 
of school and visiting your folks for the 
holidays. Like school, there isn’t much to 
do besides get your supplies (gloves, bats, 
and uniforms for the players, media 
guides and parking stickers for the 
scribes and talking heads) and mill about, 
chatting — waiting for someone, anyone, 
to provide some action. Covering-first- 
base drills are the equivalent of ‘‘What I 
Did on My Summer Vacation’’ themes. 


Covering players covering first base is like 
grading those themes. Like a visit to mom 
and dad, life at Winter Haven is quite 
pleasant, if you don’t mind going to bed 
early. 

Or at least that’s the way it’s always 
been. But there’s one concern that now 
intrudes on the atmosphere of lazy good 
will, one that’s a lot more troubling than 
most people here admit — maybe even to 
themselves. Last week, the first steps 
were taken in a process that could result 
in spring training’s being the only major- 


league baseball activity that~will take 
place outdoors for some time — unless 
you count picket lines. The Players’ 
Association and the owners are grad- 
ually moving toward the strike that both 
sides profess to abhor but that no one has 
yet displayed the imagination to avert. 

Last Tuesday, the Players’ Asso- 
ciation’s executive board authorized 
director Marvin Miller to take a strike 
vote of its members. An affirmative vote 
(which is certain) in turn gives the board 
the authority to call a strike ‘on or after 
April 1.”" Miller is conducting the vote as 
he makes his annual rounds of the 
spring-training camps. The next day, 
Miller was at the Phillies’ camp, in Clear- 
water; the vote was 40-0 for strike 
authorization. Not incidentally, Phila- 
delphia has perhaps the highest payroll in 
baseball. 

The association and the owners have 
been conducting the negotiations on a 
new basic agreement for 16 weeks now 
amid a storm of public indifference. It has 


_been the popular perception that these 43 


meetings of the minds have produced 
little in the way of progress. As far as 
the Players’ Association is concerned, 
that’s an understatement. “It’s almost as 
if we're in the first week of nego- 
tiations,” Miller said of his winter's 
work. 

Since Miller became executive direc- 
tor, the association’s contract confron- 
tations with the owners have resulted in 
one of the more one-sided rivalries in 
sports, for the Players’ Association is the 
most successful labor organization in his- 
tory. Since the owners by and large are at 
least lieutenant-colonels of industry, their 
failures at the bargaining table and their 
inability to maintain a rational salary 
structure seem to have brought out their 
latent robber-baron tendencies. Simply, 
the owners’ current contract proposal is 
doomed to rejection, and they know it. 
Unless there is a substantial change in 
their position by April 1, a strike appears 
inevitable. 

Nobody has ever accused Marvin 
Miler of being a softy in negotiating, but 
the players seem to be making the first 
tentative steps toward reality in the mat- 


Peter Travers 


Williams: he’s always talking. 


ter. If, Miller has indicated, the owners 
were to show that the clubs were in finan- 
cial distress; the players would be willing 

to moderate their demands. - 
This may sound like a reasonable pro- 
posal, except there’s a neat catch. Under 
collective-bargaining laws, if .an em- 
ployer pleads poverty in response to con- 
tract demands, he is obligated to open his 
Continued on page 30 


“SCHOOLS” 


_ This Summer Study the Most 
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30 


THE BOSTON PHOENIX, MARCH 11, 1980 


Sports 


Continued from page 28 
books. Which isn’t likely to hap- 
pen any time soon in baseball. 

Off the record, baseball exec- 
utives are willing, even happy, to 
tell financial horror stories. One 
said this week that Pittsburgh lost 
$1 million while winning the Na- 
tional League pennant and the 
World Series. And, in truth, there 
are some teams that would prob- 
ably welcome a public exhuming 
of their financial records. But in 
the fantasyland of baseball 
capitalism, these are the clubs that 
lost money. The most successful 
franchises aren’t eager to 
broadcast it. 

Given the nature of modern 
accounting, one wonders why 
any owner would make a fuss 
over disclosure. It is the proud 
boast of one front-office man that 
he can turn a $4 million profit 
into a $2 million loss and have 
every accountant in the country 
agree with him. 

All of this backing and filling 
at the bargaining table is reach- 
ing Winter Haven as second-hand 
information at best. Those re- 
porters who attended the Tues- 
day meeting in Tampa were greet- 
ed here as if they’d been eyewit- 
nesses at Fort Sumter. The 
players, who are most directly af- 
fected, appear to be operating in 


‘an informational vacuum. The 


most frequent response is, ‘’I’ve 
only seen the news on TV.” Al- 
most unanimously, they express a 
desire that the strike be avoided, 
declare solidarity with the asso- 
ciation, and offer the vague hope 
that ‘‘as long as both sides are 
talking, things ought to be 
worked out.’’ Maybe so, but 
SALT had more agreement at the 
outset than these negotiations, 
and April 1 isn’t far away. In ef- 
fect, the players last week chal- 
lenged the owners to get serious. 
Given the tycoons’ record over 
the years, ticket holders for the 
April 14 opener at Fenway might 
be well-advised to have con- 
tingency plans. 


Photos by Peter Travers 


knowledge of the status of the 
negotiations, and he isn’t talk- 
ing. He can’t. Haywood Sulli- 
van, as a member of the owners’ 
executive committee, has been to 
more meetings lately than he'd 
care to count, but he must re- 
main mute on what has trans- 
pired. (He’s subject to a $500,000 
fine if he says word one about the 
negotiations.) One senses he’s 
more than glad to remain mute, 
that Sullivan is just plain over- 
negotiated from his three years of 
ownership. Wednesday, seated on 
a bench observing the leisurely 
action of picture day, Sullivan 
chatted with reporters and 
players and spoke with regret of 
his next day’s schedule — a drive 
to Tampa for yet more meetings 
with the Players’ Association. ‘I 


have a lot of work to do,” he 
sighed, ‘but I just don’t feel like 
getting up and doing it.’’ 
Considering what Sullivan’s 
work will entail for the fore- 
seeable future, the sentiment was 
understandable. 
* * * 

Of course, there may well be a 
happy ending to the labor saga, 
and baseball will proceed on 
schedule. On the athletic front, 
there is little to report. As Don 
Zimmer is wont to respond to 
questions about personnel deci- 
sions: “‘But we haven't played 
anybody yet.” The major ques- 
tion, about the condition of Carl- 
ton Fisk’s erm, will not, accord- 
ing to Zimmer,”be resolved “for 
another 10 days or so.” As for 
evaluating pitchers, it’s hard to 


“But we haven't played anybody yet”: Zimmer won't know about Fisk for another 10 days. 


tell in batting practice. For what 
it’s worth, Dennis Eckersley and 
Skip Lockwood have thrown 
well. 5 

For that matter, this part of 
spring training is becoming in- 
creasingly obsolete. Ostensibly, 
teams go south for two reasons: 
for players to get in shape and for 
Management to evaluate per- 
sonnel. Twenty years ago, the 
former reason had validity, as 
players did little in the off-sea- 
son. But now, in the age of run- 
ning, racquetball, and the Nauti- 
lus machine, an out-of-shape 
ballplayer is so rare as to be 
almost non-existent. And both 
Zimmer and Sullivan agree that 
this year’s team has arrived in the 
best shape ever. Accordingly, the 
leisurely laps and pepper games 


seem more pointless than ever. 
Further, no personnel decisions 
are being made now, and realistic- 
ally, there are no more than five 
or six spots open on the 25-man 
roster anyway. The guess here is 
that spring training is its own 
justification, that we are all here, 
players, managers, owners, writ- 
ers, fans, because we enjoy it, be- 
cause it’s a pleasant way to begin 
the most pleasant of games. Base- 
ball can be cutthroat business, but 
not during the first week in 
March. 
* * * 

Sometimes it appears that Ted 
Williams is in camp to distract 
people from ‘the realization ‘that’ 
nothing much is going on. Some 
of the more cynical observers 
hold this view, in light of 


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Williams’s readiness to talk hit- 
ting with writers as readily as 
with players, who are the desig- 


nated recipients (DRs) of his wis-. 


dom. In truth, Williams, the Red 
Sox all-time legend, is here to a 
large extent strictly for public 
relations, but he’s so good at it (in 
contrast to the rest of the organ- 
ization) that this alone should jus- 
tify his presence. Williams holds 
court everywhere, talking hit- 
ting, baseball in general, fishing, 
hunting, photography, what have 
you. He attacks each subject with 
enthusiasm, his voice con- 
spicuous in this soft-spoken 
club. I’m not enough of a student 
of the game to tell if Williams's 
advice to selected hitters is effec- 
tive (though how could it hurt to 
listen to Ted Williams on base- 
ball?), but I think he is most val- 
uable as an example of attitude, of 
the much-maligned intangibles. 
Ted Williams is clearly a man 
fascinated by life, who’s ex- 
plored it to the fullest and who 
has a hell of a good time being 
Ted Williams. This quality is, of 
course, what most observers have 
found absent from the current 
generation of Red Sox players. 
* * * 

Monday, one writer said camp 
was so dull he wished ‘‘someone 
could do something — break a leg, 
maybe.” In the finest traditions of 
Hearst journalism, he then went 
out and created the news, al- 
though not willingly. George 
Kimball, Phoenix alumnus- 
turned-Herald columnist, is a 
front-page story from Tampa to 
Orlando. 

It all began, innocently enough, 
with a satiric Kimball column of 
two weeks ago, portraying Win- 
ter Haven and Polk County as an 
old Southern depot inhabited by 
good ol’ boys, bleached-blonde 
divorcees, and the Klan. All these 
things are part of this town, if not 
the whole, but the column was no 
more vicious than Kimball has 
been about, say, Cincinnati. 

No one here would have no- 
ticed, Herald circulation in cen- 
tral Florida being what it is, had 
not Clif Keane, whose relation- 
ship with Kimball can be fairly 
described as hatred, brought -the 
article to the attention of the local 
press. and citizenry. Suddenly, 
Xerox copies of the offending col- 
umn were everywhere and a cer- 
tain chill could be discerned at 
Kimball's traditional night spot. 

The residents of this area may 
-have a point — that Kimball took 
a few cheap shots — but their out- 
break of Babbitry in defense of 
their burg served only to under- 
line Kimball’s point — that 
Winter Haven is indeed a small- 
time small town. His column has 
been the leading source of local 
news, even more of a threat to the 
Winter Haven way of life than 
Iranians or citrus freezes. The 
height of chutzpah was achieved 
by a local’ radio station which, 
after editorially denouncing Kim- 
ball for two days, asked if he 
would mind doing a few promos. 
Presumably, the residents would 
have been happier if Kimball had 
mentioned their other landmark 
— condominiums — their chain 
restaurants, and the phenomenal 
number of lousy rock bands. 

His colleagues, meanwhile, are 
alternately amused by his 
predicament and appalled at the 
orgy of chauvinism. Baseball 
being baseball, the amusement is 
all Kimball ever gets to hear. Hay- 
wood Sullivan, for example, won- 
dered aloud if Kimball should 
stand so close to his players in 
practice, in case the locals ‘‘use a 
bomb instead of a gun.” 

For his part, Kimball has been 
doing a creditable imitation of 
Robert Vesco, dodging hosts of 
local photographers eager to 
immortalize him on page one. 

Still, George Kimball is not 
without his supporters here. One 
local, well along in drink, con- 
gratulated Kimball for his hon- 
esty and courage. ‘There you go, 
George,” observed a fellow writer 
at the bar. ‘At least you’ve got 
someone now to give the eulogy.” 


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2. Sweepstakes ends March 31, 1980. All entries must be received by April 6, 1980. 
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6. Odds of winning will be determined by number of entries. 
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THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


peak for themselves 


IX women.S 


S 


Black 


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2 


THE BOSTON PHOENIX, SECTION TWO, MARCH 171, 1980 


edited by Barbara Wallraff 


Lifestyle Index 


Black feminism 4 
Survival 6 
Thought for food 8 
The fat & the lean 9 
The great outdoors 10 
Puzzle 15 
Claseicds 


GUNT HERS 


i 0 ARMING 
LEOPARDS 


GREATEST LITTLE 
SHOW ON EARTH 


How about a three-ring circus that has bleacher seating for 
7000 and a lion act in progress under its bigtop even though 
the whole thing is only about 12 feet across? It’s a scale replica 
of a 1920s-style traveling show, and a highlight of the current 
exhibit at the Museum of Transportation, ‘“The Circus Comes 
to Town.” 

The model is a tour de force by Clyde Reynolds, who built 
it over a period of 10 years. Reynolds is a member of the New 
England ‘Lot’ (that’s circus talk, adapted to mean “‘area 
chapter’’) of the Circus Model Builders and Owners 
Association, which lent a bunch of its handmade stuff for this 
display. Other members have provided a tiny steam-powered 


calliope, which will make music if its little steam boiler is 
stoked; a model of the first American circus, which had ‘em 
on the edges of their seats back in 1790; and re-creations of 
less remote circus tableaux, such as circus wagons being 
unloaded from flatcars the old-fashioned way — using 
elephant power — as well as the more modern way — using 
tractors. The models all depict scenes that were most typical at 
some time before 1956, when Ringling Brothers folded up its 
tent to play in civic centers and exhibition halls. 

Completing the circus atmosphere are colorful, turn-of- 
the-century posters, and recorded calliope music. 

“The Circus Comes to Town” will be at the Museum of 
Transportation, Museum Wharf, 300 Congress St., Boston,. 
open daily from 10 a.m. to 5 p.m. (Friday to 9 p.m.), through 
April 27. Admission is $3 for adults, $2 for children aged 3 to 
15 and for students, or $1 per person on Friday after 6 p.m. 


TWO FOR 
THE ROAD 


What better way to get away from it all than by making 
a tour of American vineyards (or just stopping at one or 
two on the way to somewhere else)? With The 
Traveler's Guide to the Vineyards of North America, 
by William I. Kaufman (Penguin Books, $5.95) as your 
reference, you can tipple your way to Baja and back. Or 
plan day trips to taste the yields of the few vineyards 
listed for New England and the many for upstate New 
York. This paperback guide makes no pretense at being 
comprehensive; evidently it was put together from 
questionnaires filled out by vineyard representatives. 
But it gives you all the facts you really need to plan 
visits to vineyards, plus enough background 
information on most of them to help you decide where 
you want to go first. 
* * * 

And if you happen to be planning a European trip, 
what better way not to get away from it all — your fit- 
ness measures and pleasures, that is — than by popping 
A Runner's Guide to Europe (Penguin Books, $5.95) 
into your luggage and then following its directions to 
jogging tracks, swimming pools, and squash and tennis 
courts in 24 major cities around the continent? That 
authors Aden Hayes and Jere Van Dyk practice what 
they preach is obvious: they urge you to run just a few 
more kilometers to get to the really scenic part of some 
route, warn you about unpleasant rush hours in each 
city, and even make occasional suggestions about local 
dishes to order when you want to load up on 
carbohydrates. Tips on safety for female runners, on 
local what-to-wear etiquette, and on where to find 
medical aid, public restrooms, and so on are included. 
And at the end of this paperback are metric-conversion 
tables and instructions on how to ask for something to 


drink in nine languages. 
— B.W. 


WRECK ’N’ ROLL 


When your car's in the shop and you’ re willing to rent any old 
heap so long as it’s cheap, the Rent-A-Mess for Less car- 
rental agency may be the place to begin hunting. It's 
impossible to say whether its rates — $8.45 (including 
insurance) per day, plus six cents a mile; or $10, with free 
mileage, for each of seven or more days — are the best, 
because different combinations of basic rates and mileage 
charges can be more or less in your favor, depending on how 
much driving you plan to do. But Rent-A-Mess certainly has 
the right idea. 

This used-car rental agency, owned by Sy Avellino, seems 
to be unique in the Metropolitan area since Rent-A-Wreck 
went out of business, a year or so ago. Its seven-day rate is the 
same as the usual insurance-company maximum allowance 
for a substitute car when yours is out of action. It doesn’t 
require that you leave behind a credit card when you rent 


(though if you don’t, you must deposit $150 and provide 
verifiable references). Assorted American cars, vintages 1966 
through ‘75, make up the agency’s fleet of 68 autos. Says 
manager Frances Roberts, ‘We got some right off the street — 
their owners came in and asked if we wanted to buy them.”’ 
Others came from used-car lots, and still others are 
government-service retirees. 

Given the nature of the business, Rent-A-Mess doesn’t 
encourage people to rent its cars for long-distance trips. 
Lower New Hampshire and the Cape are about as far as 
Roberts is willing to let them go. If the car breaks down 
farther away than that, she says, you'll have to “pick up the 
difference between what the repair cost and what it would 
have cost us.’ And, she warns, “‘it’s quite a difference.” 

Rent-A-Mess for Less, 749 Hyde Park Ave., Roslindale, 
327-3737, open Monday through Friday from 9 a.m. to 6 p.m. 
The agency is on the route of the No. 32 bus, which leaves 
from the Forest Hills MBTA station. 

— B.W. 


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Alex Farquharson 


DON’T GO AWAY 


If you need an excuse to play tourist in Boston, you 
won't find a much better one than this year’s 
celebration of the city’s 350th birthday. The Boston 
Center for Adult Education is sponsoring a special 
spring ‘Jubilee 350” program for those sophisticated 
tourists-at-home who'd like to explore this area’s 
architecture, the past and present of its pubs and 
taverns, its Victorian era, the history of its public 
transportation — oh, any of lots of things. 

Courses mostly include field trips and/or 


audiovisuals to keep them lively, and each meets for an 
hour or two a week, on weekday evenings, for five to 
10 weeks (these start in late March or in April; tuition 
ranges from $23.75 to $41). Besides these full courses, 
the BCAE is offering a dozen different walking tours in 
and around the city; each of these meets once, generally 
on a Saturday (between late March and June; tuition is 
$4.25 to $6). As you might guess from looking at the 
full slate of tours — including East Cambridge, 
Marblehead, Salem, and Brookline’s Longwood 
neighborhood — the walking-tour program wasn’t 
designed just for the birthday celebration. The BCAE 


has been recruiting architectural historians, historic- 
house curators, and other authorities to lead such tours 
for almost 20 years. So if a tour is already full when you 
try to register (each is limited to 22 participants), or if 
you don’t need an excuse to play tourist, there’s always 
next year. 

For a catalog, which includes descriptions of “Jubilee 
350” courses and walking tours, stop by or call the 
BCAE, 5 Commonwealth Ave., Boston; 267-4430; 
open Monday through Thursday from 9 a.m. to 9 p.m., 
Friday from 9 a.m. to 8:30 p.m., and Saturday from 9 
a.m. to 1 p.m. — B.W. 


‘LL HOYVW ‘OML NOILOSS ‘XINJOHd NOLSOG SHL 


ROVING EYE 


Do you ever wonder how machines feel 
about you? 

Once in a while. Sometimes when I’m 
just fooling around, really off-the-wall 
thoughts come into my mind, and once 
in a while that would be one of them. 


Especially when some machine is giving - 


me a hard time, and I start giving it a 
hard time back. I] never think about it 
too seriously. 

Peter Thomson, ice-cream seller, 
Cleveland Circle 
Yes. They're very submissive to me. 

It’s the only way. And if they don’t 
work, I throw them away. 
Greg, coffee-shop manager, Lexington 
I'm real nice to my machines. I don’t 
kick them or break them, and if they get 
broken I] go and have them fixed, so 
they must like me a lot. If a machine 
doesn’t want to get fixed, I don’t think 
it’s the machine's fault, I think it’s the 
factory's fault that built the machine, 
and I get mad at them for being such 
highway robbers and making people 
pay money for things that are just crap. 
Kathy Todd, freelance illustrator, 
Cambridge 
I sometimes think my car doesn’t like 
me too much, because it breaks down on 


me a lot. I’ve got $300 worth of repairs 


to do on it. And my toaster oven’s 
broken, and so is my blender. So I have 
a feeling machines have a problem with 
me. 
Ira, UMass-Amherst student, 
: Waltham 
I don’t ever wonder, because I just 
don’t like machines. 
Annette Mayer, secretary, Allston 
After reading a book on cyborgs, I’ve 
wondered about my relationship to 
machines. It’s still growing. I don’t 
think that machines are so 
anthropomorphic as we are in our 
relationship to them. 


Ken Brown 


Al Phillips, freelance illustrator, 
Fenway 
No. Machines are inanimate objects 
and incapable of feelings. Any feeling 
that anyone would describe that a 
machine might have for them is nothing 
more than a projection of their own 
feelings or of the state of their attitude 
at that particular time. If somebody 
were to tell you that they thought 
machines felt any way about them, they 
would only be talking about the way 
they felt about themselves. 
Geoffrey Stewart, retired musician/ 
songwriter, New York 
No, not really, I don’t believe in 
machine intelligence. I don’t think 
machines have evolved enough. I think 
more about people, you know, than 


machines. To my mind, machines might 
have a personality on the exterior, but 
they’re meant to be used, to be used © 
properly, to be used for what they're 


“supposed to be used for. 


Jim Harrington, cab driver 
and Boston State College graduate 
student, Beacon Hill 
Oh God, no. That just reminds me of 
housework now. I don’t think I'm a 
good candidate for this. Well, 
sometimes I think I hear my blender 


talking back to me when it chops ice. 


Mindy Nenopoulos, salesperson, 
South End 
I have a great rapport with all of my 
machines in the kitchen. I have a 
blender, a Cuisinart, a toaster, an iron — 
what else do I have? I have all those 


things. I do, and that’s a very honest 
thing to say, too. 


Tommy Nenopoulos, clothing 
salesperson, Fenway 


No, I really don’t. I’ve never given 
any thought on how a machine felt 
about me. 

Larry Lawrence, social worker, 
Cambridge 

I’m an artist and I use machines all 
the time and I think they love me. They 
have to; they'd cut my fingers off if 
they didn’t. I take care of them, I make 
sure they get their workouts and so on. | 
don’t anthropomorphize machines, 
however. 

Jan, jewelry-maker, New York 
— B.W. 


: 

| 

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| 

| 
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| | 
Po. 
| 

| 


THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


"Michele Wallace 


their own image 


Black feminism is not white feminism in blackface 


by Anita Diamant 


White women have been accorded the 
privileges of race and of weakness that 
demand protection. Feminism demands 
that they renounce the second set of 
privileges. What will happen, in the proc- 
ess, to the first? 

— Margo Jefferson 


s some of our most powerless citi- 
A zens, black women are almost 

invisible in the daily commerce of 
America. If you tried to get a sense of 
who inhabits this country by the faces on 
prime-time TV, the fact that black 
women comprise as much as seven per- 
cent of the population would come as a 
surprise. 

Black women don’t play well on the 
tube — the old stereotypes are no longer 
in good taste, even though they persist; 
new roles, more realistic and more com- 
fortable ones, are rarely introduced. 

Above all, black women have been 
viewed as mythic creatures. Even today 
they live with stereotypes from Gone 
with the Wind: omnipotent and sacrific- 
ing Mammy and ineffectual and mind- 
less Prissy. The spotlit myopia of show 
biz presents us with the brashness and 
glad-handing of Pearl Bailey as well as the 
tragedy of Billie Holiday. 


The closest we’ve come to updating the - 


image of black women is thinking of the 
sanitized, successful executive who ap- 
pears in bank ads — and who is inter- 
changeable with her white counterpart. 
But despite assumptions that they are 
making great strides as a result of the 
institutionalized tolerance of affirmative 
action, black women, statistically speak- 
ing, are just scraping by. 

According to the Department of La- 
bor, in 1978 teenaged black females 
topped the unemployment list, with a rate 
of 41.2 percent. That’s compared with 
35.5 percent for teenaged black males, 
15.9 percent for teenaged white females, 
and 12.8 percent for teenaged white 
males. Among adults, 11.3 percent of 
black women were unemployed, com- 
pared with 7.2 percent of black men, 5.6 
percent of white women, and 3.1 percent 
of white men. Black women also have the 
lowest weekly median income, $158 a 
week. White women earn $167; black 
men, $218; and white men, $279. 

According to black economist Phyllis 
A. Wallace, women are the heads of 
household in 38 percent of all black fami- 
lies; 44 percent of all black children live 
in these households. The median income 
of black families in which women head 
the household is $5900. The poverty line 
for an urban family of four is $6700. 

A study done by the Law Enforcement 


Assistance Administration found that 
black and other minority-group women 
are 1.7 times as likely to be raped as white 
women. It is also reported that the high- 
est rate of homicide in which a relative is 
the victim is found among black women. 
“We are truly the throwaway people,” 
says Audre Lorde, a black teacher, poet, 
and essayist. 

When Ntozake Shange’s “‘choreo- 
poem,” for colored girls who have con- 
sidered suicide when the rainbow is enuf, 
played on Broadway to packed houses 
and rave reviews, in 1976, black women 
and their experience became visible, and 
the myths began to dissolve. 

The specific anger of black women was 
intolerable to many black men, who 
charged that Shange was a schizophrenic 
racist. White women were struck by the 
fundamental differences between their 
experiences and her story of black 
women’s lives. Regardless of their reac- 
tions, many people began viewing black 
women as they never had before. 

Yet colored girls was by no means the 
first discussion or description of the 
experience of black women by a black 
woman. In fact, black American women 
have been writing since before the Con- 
stitution was signed, and their literature 
has flowered since the Harlem Renais- 
sance, in the 1920s. 

But since colored girls, there has been 


Connie Sullivan and Renae Scott 


an explosion of writing by and about 
black women. And today, their experi- 
ence as leaders in the civil-rights move- 
ment, as followers during the black 
power days, and, for most, as marginal 
participants in or spectators of the white 
women’s movement has evolved into a 
new theory and a new activism — black 
feminism. 

By definition, black feminists take on 
the untangling of racism and sexism, and 
they define this challenge in various 
ways. The most volatile subject raised by 
black feminists is probably that of rela- 
tionships between black men and black 
women. The question of sex roles con- 
tinues to elicit the outrage of some black 
men, but others have partaken in the 
painful process of trying to figure out 
how racism has skewed the ways black 
men and women see one another. 

The relevance (or irrelevance) of the 
women’s movement and the arrogance of 
some white feminists are other common 
issues. The tendency of white women to 
deny the differences of race (as well as 
those of class and ethnicity) under the 
Banner of sisterhood has alienated even 
sympathetic black women. 

Political activity — consciousness-rais- 
ing, community organizing, and service 
work — seems for black women to be fo- 
cused on local concerns rather than on 
national strategies, the province of the 


white women’s movement. 

Still, it comes as a shock to many white 
feminists that black teminism is not white 
feminism ‘n blackface. This becomes ap- 
parent everv time biack women and white 
women honestly confront their differ- 
ences. These differences are, for the most 
part, perceived as threatening. Changing 
the threat posed by racial difference into 
the basis tor understanding is the chal- 
lenge that some feminists, black and 
white, are ‘aking on 

Audre ! orde is 46 years old, the mother 
of a son and a daughter, the author of 
seven books of voetry, a lesbian who has 
shared her lite with a white woman for 12 
years, and a very clear-sighted woman. 
“We are programed to respect our fear 
more than each other,” she says. “But 
that fear has bought us nothing. We re- 
spond to difference in two ways. either 
we becalm it, which is to say we co-opt it, 
or we have what I call the ‘jugular-vein 
mentality. We kill what is different. But 
within difference there lies a creative 
charge We've never heen given the tools 
to tap it.” 

In talking to black women — lesbians, 
mothers, workers, wives, middle-class, 
working-poor, artsy, original thinkers, 
jive talkers, friends, and adversaries — | 
improvised, trying to listen without guilt 
or contempt, trying to respond without 
apologies or pronouncements. | started 
each interview by asking, ‘Look, how do 
you feel about being interviewed by a 
white woman about black feminism?’ 
My question was answered with nothing 
but honesty. Someone once told me that 
if you want to be trusted, you've got to be 
trustworthy. What follows is interviews 
with six women who speak for them- 
selves. 


Susan McHenry 

For the white person 

who wants to know 

how to be my friend. 

The first thing you do is to forget i’m 
Black. 

Second, you must never forget that i’m 
Black. 

— Pat Parker 


Susan McHenry and I got down to the 
business of becoming friends with the 
help of a couple of strawberry daiquiris 
one hot June afternoon. We'd known 
each other tor about six months, and we'd 
discussed a variety of things — the diffi- 
culties of writing, a mutually disliked em- 
ployer, movies. But there was one issue 
that demanded attention before we could 
call ourselves friends: when I looked 
across the table at Susan I saw a black 
woman. When she looked at me, she saw 
a white woman. So we began a conver- 
sation’ that has resurfaced and changed 
over the two years of our acquaintance. 
I’ve learned how to risk being an ofay in 
front of her, which also means I've 
learned how to listen. { can offer her criti- 
cism and I can accept her challenges. 

Give and take is in the nature of adult 
friendships. But when you add to that 
complicated endeavor the acknowl- 
edgement of racial difference, you have a 
wrestling match. So McHenry and I make 
each other sweat, hashing out ideas and 
working through insecurities. And we 
make each other laugh. 

“An interview like this has to begin 
with daring to ask questions out of pure 
interest. A white woman daring to be my 
peer. How’s that?” she said. Interview- 


* 
4 

7 

i 


Demita 


ing friends isn’t the simple pleasure it 
might seem. The conversation swings in 
and out of private matters, and since Mc- 
Henry had moved to New York to be- 
come an editor at Ms. magazine, we had a 
lot of catching up to do. 

“Talking about this means giving up a 
lot of arrogance, a lot of cultural bag- 
gage. And it means a black woman being 
willing to respond in the same way.” 

On the face of it, the questions are sim- 
ple enough; black feminism — what, 
where, when, how, and why. The an- 
swers, however, are not. 

“I am a feminist,” she said. “But for 
me, the modifiers are important. I call 
myself a black American feminist. I’m 
not a black African feminist. I don’t have 
the tradition of colonial Africa and inde- 
pendence movements. I have the history 
of the black African past as a prelude to 
the slave experience, emancipation, the 
civil-rights movement, and all the con- 
tradictions of racism and sexism in that 
particular stream of history, a stream of 
history that has shaped my personal his- 
tory and my vision.” 

A child of the early phase of desegre- 
gation in Louisville, Kentucky, McHen- 
ry grew up acutely aware of her position 
as an outsider. ‘I was educated as a token 
black,” she says. She graduated from 
high school first among the 400 in her 
class, in 1968. 

“T’m not quite sure what kind of a 
symbol I was, but I represented more to 
the white. people than to my own com- 
munity,” she said. ‘’I think that’s the way 
a token is used. ‘Here’s the number-one 
student at Atherton High School. She’s 
black and she has nothing to do with 
those niggers who are demanding things 
in the street.’ 

“T felt that separation made between 
me and them, and at that point I was 
ambivalent about it. I wanted the things 
that these folks promised me I could have 
if I was a good girl. Those folks in the 
street wanted them, too, but they knew, 
like I didn’t at the time, that being a good 
girl wouldn't help. That's the real pres- 
sure of tokenism — that separation.” 

And McHenry has found that token- 
ism within the women’s movement isn’t 
much different., The psychological toll is 
the same. ‘‘First of all,”” she said, “‘it’s 


enry 


very hard to know yourself, because 
whenever you're speaking, you are heard 
as the black woman, and not a black 
woman. That's because you’re the black 
woman in the room. That does a disserv- 
ice to all black women and it does a dis- 
service to you as an individual. There’s 
the guilt of not carrying your respon- 
sibility to other black women — and I be- 
lieve I do have a responsibility to other 
black women — and there is the anger of 
short-changing yourself.’ 

Responsibility and anger. The former 
is a traditional load; the latter has never 
been considered a feminine attribute — 
not in white culture, not in black culture. 

“Everything in a black woman’s life 
has been outside herself. Black women 
learned to be very adept at understand- 
ing everyone and their points of view. It 
was a question of survival. So now, one 
of the tendencies of the black-feminist 
movement is to begin to explore our in- 
terior reality. And that’s why we're so 
belligerent. Because that interior reality is 
so precious to us, and so unexplored. 

“Living in racist America has done an 
awful lot of damage to the psyches of 
black women, and we are working with 
each other to repair them. We have 
separations among ourselves to deal with. 
Class is one, sexuality is another. And to 
a lesser degree, intertwined with the class 
separations, are separations of color.” 

Light-skinned black women with Cau- 
casian features have traditionally been re- 
garded as more beautiful than those who 
are dark-skinned and thick-lipped, by 
black people as well as by whites. It’s an 
interesting sociological sidelight for white 
people, but it’s a fact of black life that’s 
taken its toll. “In the ‘60s, when black be- 
came beautiful,’’ McHenry said, ‘’there 
were a lot of dark-skinned women who 
would have liked to see a situation where 
the mulattos had to be ashamed: ‘For 40 
years I had to feel ugly. Now you go feel 
ugly.’ We all have this sort of revenge 
urge. But I don’t want to replace one 
stereotype with another.” 

But the development of black-feminist 
theory and the growth of a black-femi- 
nist movement has met with heated resis- 
tance in the black community. Since the 
late ‘60s, when the white women’s move- 
ment began to make headlines, black 


Kattie Portis 


women were warned against playing into 
the hands of what was seen as the white 
man’s game of keeping black men and 
women divided. The warnings and 
charges continue. 

“What's going on there,’ McHenry 
said, ‘‘is there’s a real fear of an autono- 
mous black woman in the community. 
That's bizarre, because so many of us are 
heads of our own households. So you can 
go and be head of your own household, 
but for God’s sake, don’t take any pride 
in yourself. 

“Ebony magazine and The Black 
Scholar have been printing the same ar- 
ticle for years about the problems of 
black male-female relationships. The 
black women’s quotes are getting a little 
more impatient, though. A little more, 
‘I’m not taking this shit.” And that’s 
really terrifying to black men.” 

McHenry regards the impatience of 
black women as a good sign. ‘But what I 
see that breaks my heart so much is, 
okay, we get angry and then we go off on 
our separate paths instead of talking to 
each other and finding our strength and 
effectiveness in numbers. That happens a 
lot more with middle-class women than 
with women who live in working-class 


communities, where they make practical’ 


connections with each other in terms of 
child care and things like that. 

“And it’s crazy to say that black femi- 
nism is a middle-class phenomenon,” she 
said, in response to one of the more re- 
cent criticisms of black feminism. “Some 
of the most-active people in the second 
wave of American feminism who hap- 
pened to be black were not from the mid- 
dle class. They were welfare mothers. For 
them, the issue was very clear. Men 
weren't around, and they had to go for 
themselves and their children. I think it 
was we middle-class women who were 
lagging behind. We had the luxury of 
holding on to the fantasy that our men 
would take care of us.” 

When she goes to Louisville to visit, 
McHenry talks about her work and her 
ideas with her mother and sister. Both 
women are schoolteachers committed to 
their community, their children, and their 
homes. 

“I’m not the daughter that went off to 
the city and got involved with all these 
crazies and never came back and can’t 
talk to her family. It’s very organic,” she 
said. ‘‘We force each other to grow. For 
example, since I don’t have children, I 
have gotten more of an appreciation 
through them of the burdens this society 
imposes on mothers, the lack of esteem 
this society affords them. And there are 
issues where I push my mother, like on 
gay rights. As she grows older and really 


thinks about what she’s seen in her life, 
she’s recalled people she’s known, un- 
happy people who were probably gay or 
who everyone knew was gay. And 
remembering what they did in the com- 
munity, their contributions, she’s begin- 
ning to understand the importance of 
having people be whole — all kinds of 
people. And that’s only a recent change.” 

The Saturday traffic on the FDR Drive 
was steady and hypnotic. Sometimes it 
was easier for us to look out at the cars 
and the river than to face each other. 

“You know,” she said, “‘it’s good to 
transcend your own background. That's 
what black women have been doing for 
years. Our history is one of transcending 
our own background to understand 
what's in everyone else’s head.” 


Michele Wallace 
Such material as (Michele) Wallace's 
Black Macho and the Myth of the Super- 
woman ... offer(s) one of the most se- 
rious threats to black people since the 

slave trade. 

— Terry Jones, chairman of 
the Department of Black Studies, 
California State University at Hayward 


She has also been called an “‘artistic 
agent provocateur” of racism, a traitor, 
and a conspirator ‘‘with the white women 
against the black male.’ What Michele 
Wallace has done to incur the wrath of 
Jones and other black men — and black 
women — is to write two essays, ‘Black 
Macho” and ‘The Myth of the Super- 
woman,’ which were published, with 
great fanfare, in book form in 1979. Ms. 
put Wallace’s face on its cover and prom- 
ised that Black Macho would “‘define the 
‘80s.’ Dial Press touted Wallace’s book as 
“startling and controversial’ and quoted 
praise from such white-feminist hon- 
chos as Gloria Steinem, Robin Morgan, 
and Susan Brownmiller. 

The excerpt that appeared on the 
book's jacket has been quoted widely and 
has had the effect of the shot heard 
‘round the world: ‘I am saying . . . there 
is a profound distrust, if not hatred, be- 
tween black men and black women that 
has been nursed along largely by white 
racism but also by an almost deliberate ig- 
norance on the part of blacks about the 
sexual politics of their experience in this 
country.” 

Wallace explains the book as “an at- 
tempt to write a history of the feelings of 
black men and women for each other.” 
She was not, however, the first to recog- 
nize that black men and women are less 
than entirely comfortable with each 

Continued on page 12 


O861 Lt HOUVW ‘OML NOILO3S ‘XINZOHd NOLSOS SHL 


: 

2 
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| 
Susan McH gy 
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| 


THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


Survival 
School 
daze 


The Educational 
Testing Service 
scores low 


by Rick Borten 


ur high-school cafeteria was 
O usually a rowdy place, where 

even the meekest student was 
sometimes caught blowing a straw wrap- 
per into the air or shouting to friends. But 
on at least one day each year, 200 stu- 
dents sat at the long lunch-room tables in 
tense silence, knowing that the dark gray 
marks they made with their number-two 
pencils would determine, in large 
measure, their futures. No one in that 
crowd of white middle-class adolescents 
questioned the validity of the Scholastic 
Aptitude Test (SAT), and few underes- 
timated its importance. The tests were, 
and still are, a key factor in deciding 
whether, where, and how a student goes 
to college. A grade at the bottom of the 
200-to-800-point scoring range might 
mean rejection at respectable schools, and 
a score at the top might mean acceptance 
and even financial assistance at the 
country’s best colleges. 

Sometimes there were real surprises 
after the tests had been electronically 
evaluated and the scores sent to students 
and school officials. The kid who had 
only scraped through his classes since the 
fourth grade gained new respect from 
teachers and classmates when it was dis- 
covered that he’d gotten a 790 on the 
math section of the exam. And no one 
could understand why the girl who had 
written all those probing poems and 
stories scored only 375 on her second try 
at the verbal segment. 

It is estimated that over 100 million 
people have taken the SAT, the Graduate 


Recordi@Exam (GRE), the law-school-ad-. 


mission examinations (LSAT), or one of 
the other tests administered by a non- 
profit organization known as the Educa- 
tional Testing Service (ETS). ETS super- 
vises more than 300 testing programs that 
play crucial roles in the academic-admis- 
sions process and even in the determina- 
tion of professional placement and 
advancement. Architects and accoun- 
tants, foreign-service officers and 
physicians, lawyers and laboratory 
specialists — all are among the millions of 
people who are sorted out on the basis of 
their performance on ETS’s tesis. 

But lately the Educational Testing 
Service itself has been facing some tough 
tests. For years ETS and other devel- 
opers of standardized tests have been 
defending themselves against charges 
that the exams are racially and culturally 
biased. Now new assaults have been 
launched by consumer leaders, including 
Ralph Nader, who feel that it’s time for 
the test-makers to be accountable for the 
control they have over so many lives. 

Minority-group leaders have long 
argued that standardized examinations 
like the SAT measure the learning exper- 
iences of white middle-class Americans, 
and that many other people, who must 
take the tests in their second language or 
who are poor, black, or otherwise out- 
side the American upper and middle 
classes, suffer a distinct disadvantage. 
ETS officials respond that the standard- 
ized examinations have actually helped 
minorities, who are evaluated purely on 
the basis of merit (test performance) 
without regard to race, economic status, 
or ethnic background. They acknow- 
ledge the huge difference between the 
median score achieved by whites and that 
of blacks, but argue that blame for the 
gap rests with society and the educa- 
tional systems, rather than with the tests 
that reveal it. Moreover, ETS officials say 
they have added ‘minority-oriented”’ 
questions to their exams, and have tried 
to screen out culturally biased factors. 

Exams like the SAT, the test- 
developers say, are a measure not of 
learned facts and skills but of a student's 
aptitude or fitness to undertake a college 
curriculum. The testers have always dis- 


Sue Fine 


"SU 


couraged students from taking cram 
courses aimed at raising SAT scores, 
claiming that these make no difference. 
But a study by the Federal Trade Com- 
mission’s Boston office found that some 
coaching programs actually did help stu- 
dents raise their scores, and that the stu- 
dents who could afford the hefty fees 
charged by coaching schools enjoyed a 
real advantage. Students from high 
schools in which the teaching programs 
are geared toward college preparation 
(and toward the trials that help determine 
college admission) also have an advan- 
tage over those whose schools aim at 
other educational or professional goals. 

Mitchell Tyson, an adviser to Senator 
Paul Tsongas, is a man in his mid-20s 
who went to the best schools and never 
had any trouble on SAT-type exams. 
Growing up in a moderate-income Long 
Island family, he went to the Bronx High 
School of Science before beginning his 
college and graduate-school education at 
MIT. Almost casually, while in the 
middle of a doctoral program, Tyson de- 
cided to take the LSAT. He looked over 
some sample questions a few nights 
before the test and scored an 800, the 
highest possible score. No one was sur- 
prised-Tyson says, ‘‘I’d been taking stan- 
dardized, electronically scored tests all my 
life — the PSATs, the SATs, the National 
Merit Scholarship Exams, the. Math 
Association of America’s test, the GREs, 
etc. I understand the test-taking 
paradigm; I know how the people who 
make up these tests think. When I’m 
faced with a subtle choice between two 
possible answers, I can usually reject the 
wrong answer by asking myself, ‘Would 
the test designers have followed the kind 
of reasoning process you'd have to use to 
arrive at the answer?’ I know how to pace 
myself and figure out the pattern of 
questioning before I get into the exam. 
And I can usually see when one question 
is much harder than others and judge 
whether to skip it.’ But Tyson says his 
younger brother, who's very bright and 
likes to investigate all angles of a prob- 
lem, doesn’t do very well on the stan- 
dardized tests. Tyson says, “He reads the 
questions too deeply. If a question asks, 
‘How long does it take a boat to get from 
point A to point B?’, my brother wants to 
know how much drag is being exerted 
against the boat, where the wind is com- 
ing from and at what speed, and what the 
currents are doing.” 

Critics may also claim, then, that 
extremely bright students, like others 
outside the mainstream, are at a disad- 
vantage when they take SAT-type tests. 
Two Harvard Medical School doctors, 


Douglas Porter and Warner V. Slack, are 
among those who feel the tests are inac- 
curate measures of a student's potential. 
Dr. Slack says, “I have long been 
skeptical of the claim that anyone could, 
with validity or fairness, characterize the 
intellectual potential of children by 
means of a three-digit number... . The 
SATs do not measure creativity, motiva- 
tion, or sense of humor. What they do 
measure is the extent to which students 
have learned how to answer SAT-like 
questions — the extent to which they have 
mastered the skills of test-taking, memor- 
ized little-used vocabulary, and _ prac- 
ticed tricky algebra problems. 
Performance on the tests is unrelated to 
native intelligence because of differences 
in preparation and because of errors in 
measurement in the tests. Poor children 
from poor schools are the least prepared, 
tend to get the lowest scores, and stand to 
suffer loss of self-esteem. As if they 
didn’t have enough trouble.” 

Other critics object to what they con- 
sider to be a monopoly enjoyed by ETS in 
the college-testing market. Not only are 
college-bound students usually required 
to take (and pay for) ETS tests, but col- 
leges themselves are locked into buying 
the company’s services. These critics are 
not impressed with ETS’s non-profit 
status. Anyone who’s gotten a glimpse of 
the organization’s impressive complex in 
Princeton, New Jersey, knows that, non- 
profit or not, there’s a lot of money at 
ETS. The 400-acre home-office campus 
comprises graceful, lavishly decorated 
buildings, a hotel for visiting clients, ten- 
nis courts, a lake, a golf course, and a 
swimming pool. 

Along with its control of the college- 
testing market comes ETS’s control of the 
performance records of millions of 
Americans. The Educational Testing Ser- 
vice vows that the confidential informa- 
tion is safeguarded and that no one sees 
the data (which are technically the 
property of both ETS and the person who 
took the exam) without the individual's 
permission. Although John F. Kennedy's 
test scores were erased soon after he was 
elected to the presidency, ordinary 
citizens cannot demand that their data be 
destroyed. By any standard, ETS’s mar- 
ket dominance and control of personal 
information means wealth and power. 
That wealth is untaxed because of the 
corporation’s non-profit status, and until 
recently, its power had been entirely un- 
regulated. 

Last month, Ralph Nader released a 
study compiled by his organization called 
The Reign of ETS: The Corporation That 
Makes Up Minds; at the same time, 


Nader promised to help lead an all-out 
rebellion against the sovereignty of the 
testing giant. The Nader report restates 
many of the criticisms voiced in the past, 
and maintains that ETS’s claims of 
providing accurate tests of aptitude 
amount to fraud. The report charges that 
the SATs ‘‘on the average predict grades 
only eight to 15 percent better than ran- 
dom prediction with a pair of dice.” 
School grades, according to the report, 
are the best means of predicting how a 
student will do in his freshman year at 
college. ETS defended its testing 
techniques and charged that the Nader 
study draws inaccurate conclusions based 
on faulty statistical research. 

Nader has called on ETS to aban- 
don some of its claims and to provide full 
disclosure of its questions and answers to 
the people who take the examinations. He 
also suggested that colleges reduce their 
dependence on the SAT-type tests and 
begin using a variety of evaluative and 
diagnostic techniques that reveal more 
about a student's skills, talents, and com- 
petence. 

Nader’s demand for truth in testing 
came just a few weeks after New York 
state's new Admission Testing Act went 
into effect. This law, which is a first in 
the US, is virtually the only regulation of 
standardized test-makers, and it was 
strongly backed by the Nader-affiliated 
New York Public Interest Research 
Group. It requires standardized-testing 
sponsors to provide students not only 
with their test scores but also with copies 
of the questions, answer keys, and their 
own answer sheets. It requires, too, that a 
copy of any test offered in New York be 
filed with the Department of Education, 
and that information regarding the way 
in which the test was constructed and 
validated be publicly released. Sponsors 
of the standardized tests, including ETS, 
fought hard against the New York law. 
They argued that it would drive exam 
costs up by as much as 50 percent, be- 
cause test questions used in New York 
could never be used again and new ques- 
tions are expensive to develop. Further, 
they contended that the statute would 
necessitate the frequent changing of tests, 
which would make the equation of scores 
from one year to the next difficult or 
impossible. 

Other states, too, have begun to 
consider enacting truth-in-testing legis- 
lation. The Massachusetts Teachers’ 
Association and state Senator Carol C. 
Amick (D-Bedford) have each proposed 
such measures. Like the New York 
statute, Amick’s bill would: 

— require testing companies to make 
public their internal studies regarding the 
validity, predictive value, and bias of 
their tests; 

— require the companies to release test 

questions after the exams are given; 
' — require that test-takers, upon 
request, be provided with their own 
answer sheets so they can double-check 
the accuracy of grading; 

— require that testers provide anyone 
registering for exams with greater 
information about the tests and their 
rights of privacy and access; and 

— assure that the privacy of test- 
takers be protected. 

The Massachusetts Public Interest 
Research Group (MassPIRG) is fighting 
for Amick’s bill. PIRG lobbyist Mindy 
Lubber says there are a couple of major 
issues at stake. “First, if you're a 
consumer who pays good money to a 
testing company, you should have the 
basic right — the basic human courtesy, 
really — to see the exam after it’s over,” 
says Lubber. ‘We require full disclosure 
in other important transactions; why 
should the ETS be exempt from disclo- 
sure? And then there are those issues 
raised in The Reign of ETS; the proposed 
truth-in-testing law can help us answer 
questions like, ‘Do these tests actually 
help predict college or career per- 
formance? Are the tests racially or 
economically biased?’ I’m not prepared to 
say abolish all tests, and that’s not what 
this law would do. Instead, we're simply 
fighting for some openness in testing,”’ 
Lubber says. 

It's likely that a fight will erupt, even 
though two months ago ETS and other 
testing firms issued. a statement of 
“public-interest principles’ to which 
they claim to be committed. Oddly, many 
of the ‘‘principles” are similar to those of 
the New York law they opposed, includ- 
ing the right of students to challenge test 
scores, the provision of more informa- 
tion to students and parents, the protec- 
tion of privacy, etc. But Lubber sees the 


statement of principles as part of a stra- 


= 4 
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~ 
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tegy to ensure that other states don’t fol- 
low New York’s lead. According to Lub- 
ber, ‘“What they’re saying is, ‘We now 
support the concept of truth in testing 
and we'll move into this kind of policy in 
the future, but we don’t want 50 dif- 
ferent states developing 50 different laws 
that we'll have to live with.’ I’m afraid it’s 
a move to put off the passage of legisla- 
tion in Massachusetts, although the argu- 
ment really doesn’t hold water, since the 
proposed Massachusetts law is practically 
identical to New York's.” Lubber and 
other proponents of a Massachusetts 
truth-in-testing law read ETS’s recent 
hiring of Tom Joyce, Massachusetts’s 
leading business lobbyist, as a sure sign 
that it intends to fight. 

A key figure in the struggle over truth 
in testing in Massachusetts is state 
Senator Gerard D’Amico (D-Worcester), 
Senate chairman of the legislature’s joint 
committee on education. That commit- 
tee’s “ought to pass” or ‘ought not to 
pass’ recommendations will carry a lot of 
weight with the full House and Senate 
and greatly affect the chances of the 


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Other critics object to what they con- 
sider a monopoly enjoyed by ETS in the 


college-testing market. 


Not only are 


college-bound students usually required 
to take (and pay for) ETS tests, but col- 
leges themselves are also locked into buy- 
ing the company’s services. These critics 
are not impressed with ETS’s non-profit 


status. 


truth-in-testing bill. 

D’Amico, who is sponsoring his own 
bill calling for a study of standardized 
testing, says he’s offically neutral on the 
truth-in-testing bill. “Looking at the 
surge in the number of students going on 
to college since World War II, I can 
understand how admissions officials be- 


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came dependent on SAT-type tests,’ 
D’Amico says. “But I think that con- 
sumers who are the subject of testing 
should have the right to question the 
power of the testing culture that affects 
their lives so much. Basically, I hope that 
we can find other determinants of ap- 
titude besides the standardized tests. 


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Colleges have a responsibility to find one. 
Regardless of what new legislation comes 
out of this legislative inquiry, I think 
some real thought on the issue will have 
been stimulated.” 

By any measure, D’Amico is himself a 
“success.” He graduated from Boston 
University well within the top half of his 
class, and finished his graduate studies at 
Harvard’s Kennedy School of ‘Govern- 
ment with a 3.4 cumulative average; he 
was elected to the legislature at age 27, 
and at 32 now chairs one of its most 
important committees. Political ob- 
servers recognize the widely respected 
and affable D’Amico as a real “comer.” 
But Senator D’Amico’s SAT scores of 
330 in math and 410 in English would 
hardly have predicted such success. ‘‘I 
used to lie when people asked me how I'd 
done on the College Board exams; I was 
too embarrassed to tell them what I’d 
really gotten. I guess I’m finally getting 
over it,’ D'Amico says. ‘Boy, it’s a good 
thing someone in the admissions office at 
BU looked beyond those SAT scores, or I’d be 
back home working in the bakery.” & 


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THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


Photos by Eric A. Roth 


Thought for food 


Vegetable pizzas in the privacy of your own home 


Easy as pie: fill the crust with vegetables and top it with a cheese sauce. 


by Sheryl Julian 


ome friends and I were having a 
G vegetable pizza at Bel Canto a few 
weeks ago and one person ven- 
tured that these pizzas must be simple to 
make at home. Would I figure it out? 
Well, I tried, and they are simple to 
make at home, but for some reason I had 
to make them half a dozen times before I 
was even in the ball park. I can bone 
chickens and roll puff paste, but I can’t 
duplicate Bel Canto’s specialty. The 
crusts on my first several tries were too 
hard or too soft or too'shallow or too 
deep, the filling too dry or too watery, the 
vegetables too crisp or too limp. In the 


end, they resembled not in the slightest 
the vegetable pizzas my friends and I had 
had — but they were awfully good in their 
own right. 

These pizzas are made with a whole- 
wheat crust that is pre-baked in a cake 
pan. The crust is then filled with 
vegetables and topped with a Parmesan- 
cheese sauce, so the pie is more like a 
quiche. 

The cheese sauce and crust recipes 
each yield three pizzas. The cheese can be 
divided, but you should make the entire 
crust recipe and just pre-bake and freeze 
what you don’t need. The filling recipes 


each yield one. Here are the results of my 
experiments. 


Cheese sauce 
Makes three cups, 
enough for three pizzas 
6 tablespoons butter; 
6 tablespoons all-purpose flour; 
3 cups milk, heated until scalding; 
Salt and freshly ground black pepper, 
to taste; 
1 cup freshly grated Parmesan cheese. 


Melt the butter in a heavy-based pan 


Getting the crust the matter 


and whisk in the flour. Cook this over a 
low heat for two minutes, whisking con- 
stantly. 

Continue to whisk while you pour in 
the hot milk. When the sauce comes to a 
boil, add salt and pepper to taste. Let the 
mixture simmer another minute, then 
take it off the heat. 

Add the cheese and stir the sauce until 
it is all incorporated. Use it as directed. 


Whole-wheat crust 

Makes enough for three nine-inch pizzas 
3 cups stone-ground whole-wheat 

flour; 


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3 cups stone-ground whole- 
wheat flour; 

1% cups lukewarm water; 

1 envelope dried yeast; 

1 teaspoon salt; 

1 tablespoon olive or corn oil; 

A few drops of oil (for greas- 
ing the bowl). 


Put the whole-wheat flour into 
a bowl and make a well in the cen- 
ter of it. Add a quarter-cup of the 
lukewarm water and sprinkle the 
yeast on it. Stir the yeast into the 
water and leave it for a few 
minutes. 

Add the salt and oil to the well, 
then pour in the remaining cup of 
water and stir the ingredients 
with a wooden spoon to form a 
dough. 

Turn the dough out onto a 
lightly floured board and knead it 
for a few minutes until it is 
smooth. (Since the amount of 


water absorbed by whole-wheat - 


flours varies so much, you might 
need more to bring the dough to- 
gether, or a heavily floured board 
to knead a rather sticky dough. 
Play it by ear.) 

Add a few drops of oil to the 
bowl and turn the dough around 
in it so it gets oiled all over. Cover 
the dough with a damp cloth and 
leave it to rise in a warm place for 
one hour (it is ready when an 
indentation made with your fin- 
ger does not spring back). 

Turn the dough out onto a 
board and knead it hard to knock 
out all the air. Use it as directed. 


To assemble and bake the pizzas 

Whole-wheat crust; 

Cheese sauce, 

Fillings (see below); 

1/3 cup freshly grated Par- 
mesan cheese (for each pizza); 

4 ounces mozzarella cheese, 
grated or cut up (for each pizza). 


Preheat the oven to 500 de- 
grees. Divide the dough into 
thirds and form each one into a 
smooth ball. Roll them out on a 
lightly floured board into five- 
inch -rounds Cover the rounds 
with a cloth and leave them to rest 
tor a few minutes 

Lightly oi! three nine-inch 
layer-cake pans, 

Roll out the rounds of dough 
until they are slightly larger than 
the pan. Prick them with a fork 
about 100 times each (at half-inch 
intervals). Fold them in half and 
ease them onto one side of the 
oiled pans then unfold them and 
arrange them in the pans; it's 
okay tf they overlap the rms a 
little, Line each crust with foil, 
pressing 1t down onto the dough. 

Slide the pans into the pre- 


heated oven and cook 


for eight or nine minutes 

the edges, are hard remove. them 

from the oven lift off the foil, 

turn the oven down to 450. 
rees 


‘TO fill the pizzas, arrange the 


vegetable Filings in the crust 
then SPOON ovt the Cheese save, 
Sprinkle on the Parmesan cheese 
and top rtall with the mozzarella. 
Bake the pizzas for 20 1 2% 
minutes Or the cheese has 
melted ard 1s brown wn spots. 
Lift the pizzas from the pans 
with a flexible metal spatula and 
transfer them to a | round 
platter or Cut into 
wedges and serve once, 


Onion-and-green- pepper filling 
For each pizza thinly slice two 
medium omons and lay them dir- 
actly on the pre-haked ¢ rust .Core 
ard seed one large green Pepper 
and dice rt, lay it on the onion. 
M ushroom-and-broceot filling, 
Fox each pizza, thinly slice 
eight ounces of mushrooms and 
jay them directly on the pre- 
baked crust. Peel the stem of one 
stalk of broccoli and thinly slice 
the whole stalk, 
mushrooms. 
Cauliflower-and-onion filling 
for pizza, thity slice twe 
medium onions and lay them an 
the pre-baked cnat. Thnly slice 
two cups of cavliflower and lay 
on the onions 


lay on the 


The fat & the lean 
Jimbo’s 


Bum steer 


245 Northern Avenue, Boston; 542-5600; open for lunch and dinner 
from 11 a.m. to 9 p.m. Monday through Thursday, until 10 p.m. Fri- 
day and Saturday; closed Sunday; full liquor license; no credit cards 
or checks accepted; the restaurant is at street level. 


‘by John David Ober 


ur first reaction to 
Jimbo’s was one of chil- 
dish delight, as we espied 


the model trains circling endless- 
ly on their appointed rounds. 
They run on tracks suspended 
from the ceiling, on transparent 
plastic that affords an unob- 
structed view. The menu says 
these intriguing toys — larger 
than the Lionels we knew as chil- 
dren — are German models of 
European and American locomo- 
tives; the models were built by 
the Lehmann Company, which 
has been in business since 1881. 

Unfortunately, by the time we 
finished our meal, our overriding 
desire was to run a section of 
track out a window and hop 
aboard for a fast getaway. 

Our waitress, earnest but un- 


trained, informed us that Jimbo’s 
is the offspring of Jimmy’s Har- 
borside. It is unclear just what 
segment of the dining public the 
new fish shanty is angling for: al- 
most surely for uninformed tour- 
ists; perhaps for the overflow 
from the parent restaurant; 
maybe for young, informal sin- 
gles with less money to spend 
than their elders who patronize 


the landmark on the other side of. 


Northern Avenue. 

At Jimbo’s there is a “hobo’s 
happy hour’ from 5 p.m. to 7 
p.m. (all cocktails are 99 cents); 
there is no dress requirement; and 
the same severely limited menu is 
in effect throughout the day. The 
lack of variety in fish and sea- 
food is surprising for a water- 
front place in the heart of the 


fish-market district. 

There is exactly one first course 
at Jimbo’s, and it’s billed as hobo 
fish stew (mug $1.25, bowl 
$2.35). We spotted a lot of the 
promised celery, onions, and po- 
tatoes, as well as morsels of car- 
rot and plenty of tiny flecks of 
nondescript white fish. Still, the 
stew was not impressive: the 
broth was watery and devoid of 
fish stock; the predominant tastes 
were of salt and butter, and of 
milk rather than cream. 

Without a doubt, the best food 
we tasted at Jimbo’s was a cheese- 
burger ($2.80), craftily disguised 
on the menu as a “‘jeezeburger.”’ 
The ground beef was moist and 
seared on the outside; the cheese 
was better than many a vul- 
canized product around town; 
and the tasty roll had been toast- 
ed and arrived warm. Even so, the 
burger, which had been ordered 
as rare as possible, had been 
cooked a perfect medium-rare. 
(When we ordered it, our inex- 
perienced waitress asked in- 
credulously, you serious?’’) 

The menu offers boiled chick- 
en lobster (variable price), cod- 
fish sandwich ($1.95), broiled 
scrod ($3.50) and three fried sea- 
foods: fish and chips ($2.85), 
clams ($4.50), sea scallops 
($4.40). But the major attraction 
is what Jimbo’s calls ‘‘stick food,” 
skewers threaded with various 
ingredients and charcoal-broiled. 
All kebabs come with green pep- 


Bust loose with Cuesvo Gold. 

Dash a splash over ice and x 
add some Rose's® lime juice. 
Your mouth's 
been waiting for it, JS 


per, sliced onion, and tomatoes on 
the stick and with huge mounds 
of rice and cole slaw on the plate. 
In their favor, it can be said that 
the stick-food entrees offer con- 
siderable quantity at very decent 
prices. But none that we tried was 
praiseworthy. 

We skipped the beef kebab 
($4.50) and ordered scallops 
($4.10) and Jimbo’s special 
($6.25), a combination of scal- 
lops, shrimp, and swordfish 
cubes. Two flaws marred both 
these entrees: everything had 
been drastically overcooked, and 
some of the principal ingredients 
— most noticeably the scallops — 
tasted fishy, indicating they were 
not as fresh as they should have 
been. The shrimp were shriveled 
and decimated; eating them was 
tantamount to chewing gum. The 
swordfish was dry as dust and 
rock-hard. 

The waitress ought to have 
warned us that the side order of 
rice (50 cents) is identical to-the 
supposed “bed of pilaf’ that 
comes with the stick food. What 
we got in both instances was 
plain, boiled rice without a hint of 
spice or stock. It was topped with 
bland tomato sauce. Cole slaw 
was crisp and fresh, but an abate- 
ment of the sugar would have im- 
proved it. A side order of onion 
rings ($1) is described on the 
menu as “unforgettable.” We 
would call them ‘forgotten’ — as 

Continued on page 14 


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10 


THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


The great outdoors 


Folk tales 


by Norman Boucher 


ome years ago, a friend of 
Ga from New Jersey 
moved with her husband to 
a ramshackle farm on 125 acres in 
a West Virginia hollow. They are 
not frivolous people. They knew 
they were moving to poor coun- 
try, to a house with broken win- 
dows, a homestead without 
electricity or running water, and 
they were willing to put up with 
it, eager to realize their dream of a 
simple country life among wise 
men and strong women, without 
the hassles of city living. By 
Thanksgiving a year or two later, 
they had a few horses and were 
cooking their turkey in a wood- 
burning oven. Some neighbors 
came to the feast by horse and 
buckboard. My friend and her 
husband, it seemed, had come 
through, had found a simpler 
world, a good life. But in her let- 
ters there began to emerge a grim 
side to the idyll. They were some- 
times out of money, isolated, 
unable to find jobs. My friend 
was then working for the state as 
a housecleaner for old people, 
scrubbing dingy apartments and 
homes where too often she found 
helpless and lonely men and 
women not living the good coun- 
try life, but passing the time in 
despair and squalor. 
I wonder whether there ever 
was such a thing as the ‘’good 


life’; and if there is now, it’s cer- 
tainly only for the well-off and 
their children. Life in the country 
is more complicated than we want 
to think. Going back to the land 
may mean fresh vegetables and 
clean air, but it also can mean ro- 
mantic stereotypes of country 
people that are wildly inappro- 
priate. As the differences be- 
tween the city and what lies be- 
yond the suburbs diminish, the 
differences between city and 
country lives grow more narrow 
as well. Superficially, it may still 
be a simpler life up here in the 
country, but that simplicity of- 


ten means simple-minded cruelty | 


and prejudice too. 

Country people, for example, 
have grown no less suspicious 
than city people in the past few 
years, no less protective of what 
they own. More and more land 
around me is posted now. A few 
months ago, while walking 
through the woods behind my 
apartment, I was passing a horse 
paddock, as I’d done many times 
before, when I encountered the 
middle-aged woman from the 
house I could see beyond the 
horses. Technically, I was on her 
property. “Hello,” I said, the 
friendly neighbor, blade of hay 
between my teeth. She stood there 
and glared at me until I’d passed. 
A few weeks later, there were 


fluorescent-orange NO TRESPASS- 
ING signs nailed to the trees where 
I usually entered the woods. Now 
I take my walks at sunset, cross- 
ing through the long shadows in 
the fields as I creep toward the 
trees. I’ve found a new trail en- 
trance, beyond the signs, but my 
walks there aren't as peaceful 
now, and I dread the day when I'll 
meet someone in there who'll tell 
me in no uncertain terms to get 
the hell out. 

I live on the archetypal country 
lane, a favorite route for joggers 
and, lately, vandals: the lighting 
is poor, and most of the houses 


are set back a ways from the road. 
The country is not a good place to 


be a teenager. What's there to do? 


Last year I walked down the road 
past another neighbor who never 
says hello to me and saw that the 
back window had been shattered 
in one of the cars in his drive- 
way. Not too long after that, 
while I was sitting quietly in- 
doors one night, a rock came fly- 
ing through my living-room win- 
dow just as I heard a car screech 
away. I couldn’t hear whether the 
radio was playing country music. 
A few months before that, some 
kids had taken a length of pipe 


and, late one night, had batted my 
mailbox off its post and 
bludgeoned it into the middle of 
the road. But the country is a 
great place to bring up kids, so 
many people still insist. 


Sure it is, especially if you 
don’t want your kids playing 
with blacks or Jews. And except 
for the urban-types moving in, 
rural women are a long way from 
equality. I once lived in a little 
house by some railroad tracks in a 
tural neighborhood of country 
folk. One woman, who lived a 
few houses away, liked her long 
hair bright red. On summer 
nights, she’d sit outside on her 
picnic table with the volume 
turned way up on her radio, 
which was tuned, of course, to a 
country-music station. She'd sit 
there drinking one beer after 
another, smiling and talking to 
anyone who'd go by, joking 
tipsily with her son and daughter, 
who were the most tolerant 
human beings in the neighbor- 
hood. If no one was around, this 
woman would sing loudly and 
harshly with the old songs she 
knew, or, smoking cigarettes, 
she’d shout at the houses around 
her, shout always the same thing: 
that her husband hadn't touched 
her in 15 years and she'd made up 
her mind to leave him. Do I need 
to tell you that she never left him? 
She never said this, but she prob- 
ably sensed it; in the country, 
where could she go? 


Next door to me was Tom, who 
lived alone in a little house with 
ceilings so low I could barely 
stand straight when I visited. He 
was one of the old ones, one of 


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the crusty Yankees who capture 
the imaginations of the Charles 
Kuralts. His yard consisted of a 
dirt driveway beside the railroad 
tracks and a patch of weeds just 
large enough for a redwood pic- 
nic table, where he'd sit on sum- 
mer days -under his towering 
maple tree. I played cribbage with 
him when I could, and in winter 
I'd knock the ice off his leaky 
roof, as helpful as I believed a 
good neighbor should be. He 
smoked cigarettes with a cigar- 
ette holder, and he worried a lot 
about that maple tree, which ap- 
peared to me to be slowly dying 
from some fungus disease. One 
night the house across the street 
from his burned to the ground; 
Tom, his hearing aid turned off, 
slept through it all. There were 
people sleeping inside that house 
when it caught fire, and they were 
alerted and probably saved by the 
shouts of the Puerto Rican family 
that lived on the other side of 
Tom’s house and with whom 
Tom, at 82, never stopped fight- 
ing about their property line. In 
his Yankee way, Tom always 
used the word “niggers” when he 
talked about them. 

Now, I don’t want to overstate 


my point. These people were kind 
as well, at least to me. But they 
were not simple packages of 
goodness. Rather, their gener- 
osity was often startling, coming 
as it did from so much bitterness 
or despair. Another man in this 
old neighborhood of mine, who 
lived in the tenement-like house 
behind the red-haired woman's, 
spent most of his summer nights 
screaming at his wife and kids on 
his porch. (At least I think they 
were his wife and kids. There 
were so many families, so- many 
kids living in that house that I’m 
not sure I ever did figure who 
went with whom.) This man, who 
worked in a factory and always 
walked home after work with a 
16-ounce beer in his hand, had a 
huge belly that pushed his pants 
down below his waist, so that in 
the summer, when he was shirt- 
less, you could see the hairy 
cleavage of his buttocks above his 
belt. He had some kind of speech 
impediment, so I usually couldn't 
understand what he was saying, 
although everyone else in the 
neighborhood could. That sum- 
mer, in my rented house, I found 
a rusted push mower in the cel- 
lar, which I decided to use one 


day to cut down the high weeds in 
my dusty little yard. The mower 
was dull, and mostly I was flat- 
tening, not mowing, the weeds, 
but I persisted. Then, turning 
around, I saw the man with the 
speech impediment pushing his 
power mower over my weeds. | 
moved aside and sat on my back 
steps, watching him cut my grass 
without saying a word. After- 
ward, I tried to give him a dollar 
or two, but he refused, muttering 
some things I couldn’t under- 
stand but pretended I did. Each 
week that summer, he cut my 
lawn. Because he was so heavy, 
he sweated profusely. I sat and 
watched him, sweaty cleavage 
and all. Once in a while, he’d say 
something that I understood was 
supposed to be a joke, although I 
was still having no luck catching 
the words he was trying to say. 
But I laughed, in what I hoped 
were the right places. I soon 
realized that he was doing more 
than cutting my weeds every 
week. He was affirming that I was 
now considered a neighbor, under 
their protection, one of them. 
They had decided I was all right, 
and for that I was sincerely 
grateful, although I wanted little 


of their kind of rural life. 

A friend of mine from St. Louis 
recently gave me a book of Kliban 
drawings. One of them shows a 
pair of shoes and limp socks. The 
caption reads: “Due to the con- 
vergence of forces beyond his 
comprehension, Salvatore Quan- 
ucci was suddenly squirted out of 
the universe like a watermelon 
seed, and never heard from 
again.”” And that’s the point I’m 
trying to make. Country people 
most often are not the wise and 
healthy folk we imagine them to 
be. Imagining they are that way 
trivializes them, ignores the sad 
depths of their true and hard 
lives. They have no more and no 
less wisdom than city people, it 
seems to me, and have to face 
problems of isolation and pov- 
erty and cruelty just as their 
counterparts in the city do. They 
have not gotten away from it all. 
Their lives may in a way be 
simpler, but that’s only because 
they are often less free, with 
fewer choices, fewer options. 
They are trying to make a go of it, 
fighting boredom, alcoholism, 
even incest. Yet from these 
things, love and generosity some- 
times rise. It comes down to this: 


so many country people I’ve 
known have been watermelon 
seeds, at the mercy of forces be- 
yond their comprehension, try- 
ing desperately not to get squirted 
out of the universe. 

So in the country, I say hello to 
my neighbors and slink away to 
walk in the woods that other 
people own, going in the oppo- 
site direction from the chainsaws 
and barking dogs. I passed a car 
yesterday, and on it was a bumper 
sticker that read SAVE OIL, BURN 
IRANIANS. The good life. Keep it 
simple. On Sundays I go to the 
newsstand to buy the paper. I am 
a regular customer, so the middle- 
aged woman who sells it to me, 
who, I suspect, has spent her en- 
tire life in this town, says hello. 
She smiles graciously and we talk 
about the weather for a few sec- 
onds, until neither of us can think 
of anything to tell the other. 
Believe it or not, I like it in the 
country, but more and more I talk 
about the things that matter to me 
with my friends who have come 
here from the city, from St. Louis 
or New York, from London or 
Cincinnati, even from New 
Jersey. It’s in their eyes that I 
think I see myself. 2 


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THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


Women 


Continued from page 5 

other. Five years ago, the hus- 
band-and-wife team of Robert 
and Leota Tucker began a series 
of “black love’’ workshops in 
New Haven, Connecticut. To- 
day, the Tuckers claim that black 
men and women are “‘still mys- 
teries to each other.”’ In San Fran- 
cisco, Nathan and Julia Hare 
recently started a bimonthly 
magazine called Black Male/Fe- 
male Relationships. Ebony and 
Essence, the black equivalents of 
Life and Glamour, respectively, 
regularly feature articles on the 
“battle of the sexes.” 

Special issues of such schol- 
arly journals as Freedomways and 
The Black Scholar have been 
devoted to black sexuality. The 
volume and intensity of letters 
written in response to these is- 
sues points to a widespread recog- 
nition that something is indeed 
amiss between black men and 
black women. But Wallace’s book 
led the white media to pick up a 
new “trend.” Last summer News- 
week ran a story on “A New 
Black Struggle’ and Wallace has 
been a guest on Phil Donahue’s 
show. 

The intensely personal, 177- 
page analysis of an extremely 
complicated subject also focused 
the frustration. fear, and anger of 
the black community about the 
development of black feminism 
directly at Wallace. After a year 
of book parties, talk shows, a few 
positive reviews, and many more 
nasty attacks, she is holed up in a 
little red house in New Haven, 
Connecticut. She’s working on a 
history of her native Harlem as 
well as a novel, jogging every 


morning, and recovering. 

She said that her primary goal 
was “to introduce people to the 
urgency of the situation and to 
get people to talk about it. I 
thought that I was prepared for 
what was going to go on around 
me, but I wasn’t ready for the 
notoriety or the anger. It was hor- 
rible. 

“The anger was the most fan- 
tastic thing, and it’s still happen- 
ing. I don’t know. Somehow I ex- 
pected people to realize that my 
intentions were good, whether or 
not they disagreed with me. It 
only served to make me even 
more convinced that people are 
very frustrated about the quality 
of their lives, and that’s true for 
all Americans, not just black 
Americans. They just aimed at me 
the venom that they usually aim 
at one another in the privacy of 
their own homes.” 

The merits and flaws of Black 
Macho have been debated almost 
as hotly by black women who 
consider themselves feminists as 
by men who find Wallace’s the- 
ories of sex-role rigidity in the 
black community to be com- 
pletely off the wall. But in re- 
sponse to the vehemence of the 
attacks on her, and, by exten- 
sion, on black feminism in gen- 
eral, black feminists find them- 
selves defending Wallace even 
when they disagree with her 
analysis. Local women who were 
invited to appear with her on tele- 
vision declined the offer. “They 
wanted to watch us scratch each 
other’s eyes out, and we aren’t 
about that,” one said. 

Black Macho and the Myth of 
the Superwoman is in no way the 
definitive or even the best formu- 
lation of black-feminist theory to 
date. “It was, however, the first 
book-length attempt to articulate 


the need for a feminism from our 
point of view,’’ said one black- 
feminist writer. ‘It was only the 
first of many articulations that 
should help us face some very 
hard problems in our communi- 


Wallace agrees. ‘Mine is only 
one book where there should be 
1000.” 


Renae Scott and 
Connie Sullivan 


And she had nothing to fall 
back on; not whiteness, not lady- 
hood, not maleness, not any- 
thing. And out of the profound 
desolation of her reality, she may 
very well have invented herself. 

— Toni Morrison 


Women Like Me is a non- 
profit, self-help collective that of- 
fers seminars and workshops to 
Boston’s black community on 
such topics as ‘Black Women’s 
Image/Identity,’’ ‘‘Black 
Women’s Sexuality,” “Today's 
Black Family,” “In Love & Strug- 
gle: Male/Female Relation- 
ships.” The group’s brochure 
states, ‘It’s apparent that our so- 
ciety has rigidly ‘fixed’ the social 
roles/expectations of women and 
men, at great expense. We feel 
that there is a need to alter 
women’s image and herstory, as 
well as black people’s power.” 
The brochure does not, however, 
contain the word, ‘‘feminist.”’ 

“I don’t know why we didn’t 
use the word,” said Renae Scott, 
one of the four members of the 
collective. “I don’t think it was 
completely a conscious decision. 
Except we didn’t feel like we had 
dealt with it enough to say, ‘this is 
our philosophy.’ And at the be- 
ginning, we were not sure that if 
we took that approach, we would 


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have the audience.” 

Scott, Connie Sullivan, and the 
other charter members of Women 
Like Me met three years ago, at a 
class about black women at As- 
walos House, the Roxbury 
YWCA. After the eight-week 
course was over, however, the 
women in the group didn’t want 
to stop meeting. 

“We defied the odds,” said 
Scott. “We came together and 
liked each other and were sup- 
portive. It gave us all affirmation 
that we were sane women doing a 
remarkable job of keeping it to- 
gether in light of what was going 
on in our jobs: working in places 
that didn’t support or respect 
who we were as black women.” 

‘‘We began by looking at 
America as if it was a foreign 
country,” said Sullivan. “All of 
us are about the same age, within 
five or six years. I’m going to be 
35 next year and I can’t imagine 
what it’s like for people older 
than me to find out that every- 
thing we were taught is wrong.” 

“I grew up in America in the 
‘50s,’’ said Scott, “and I was told I 
could be whatever I wanted to be. 
There was nothing to stop me. If I 
wanted to be president, I could be 
president. I got a rude awaken- 
ing in the ’60s.”’ 

“I was taught that if you do 
good work and you talk a certain 
way, that you too can be on the 
team,” Sullivan added. ‘‘But it’s 
not true. I worked as an editor in 
a small publishing house. I was 
never really ‘on the team,’ and I 
never really could be. I wasn’t 
supposed to be.” 

Before she left her job in pub- 
lishing, Sullivan helped organize 
a chapter of 9 to 5, a local union 
for women office workers. ‘‘What 
I’ve seen is that the people who 
get hurt in this country are the 


people who are not organized,” 
she said. “If you don’t have a 
power base, you get screwed. And 
we, as black women, need to or- 
ganize.”’ She now works with the 
women’s-shelter movement, at 
the Domestic Violence Technical 
Assistance Project, in the South 
End. 

According to Scott, ‘’Black 
women will determine how we 
ought to be. We are the experts 
about our own lives. And being 
pro-woman is not anti-male. 
Women coming together is not 
anti-black man or anti-black na- 
tionalist. In order for us to be a 
strong black people, there has to 
be mutual support and mutual 
liking. 

Sullivan added, ‘In our work- 
shops, people see there’s an hon- 
est liking and trust of each other. 
And that helps them understand 
that you don’t have to distrust 
people all the time.” 

“We did a workshop on vio- 
lence this November,’’ said Scott. 
“All this stuff came out. People 
totally repress what happens to 
them. What does it mean that 
your family members can be mur- 
dered — fathers, cousins, uncles — 
and nobody ever finds out who 
did it? And it’s never talked 
about.” 

‘People repress it or deny it or 
forget said Sullivan. ‘It’s in- 
ternalized oppression. If you’ve 
been mistreated for years and 
years and you have no way to get 
back at the mistreatment, you 
take it out on the people around 
you.” 

“We talk about the level of vio- 
lence that goes on. The classic ex- 
ample is the murders last year,” 
she said, referring to those in Bos- 
ton of 12 black women and one 
white woman. ‘After the bliz- 
zard, in 1978, they did this whole 


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psychological study of the im- 
pact of people being locked in 
their homes for three days. 
Where's the study of the impact 
of 13 women being killed? Big 
deal, so people couldn’* go out of 
their homes for three days. Some 
women still can't go out of their 
houses at night.’ 

Sullivan and Scoti interact as 
though they are family, which is 
how they describe their collec 
tive. “What we're about.” Scot 
said is women trying to create 
alternatives for womer that take 
into account ali kinds or diver. 
sity. And at this point, we're all 
feeling that ves, we have femin- 
ist pelitics. After three years, we 
can build on the lieve) of trust 
people have about us Sullivar. 
addea, ‘We've just decided we 
want to tackle that political con- 
text. 


Demita Frazier 


But most 0} all as black women 
we have a right to recognize each 
other withoui tear and to love 
where we choose, for both homo- 
sexual and heterosexual black 
women today share a history of 
bonding and strength that our 
particular sexual preferences 
should not blind us to. 

— Audre Lorde 


‘I used to wish my name was 
Susan or Karen,’ she said. “! 
asked my mother ‘Why did you 
name me Demita? There’s no 
mistaking it’s me. On the play- 
ground at schoo: when the 
teacher called out, ‘Demita, get in 
here and do your homework, it 
was no one else she was talking 
to. [t was me. 

Being singled our is both a joy 
and a burden. The first time I saw 
Demita Frazier, she was on stage, 
enjoying her role as emcee ai the 


“Varied Voices of Black Women” 
concert held at BU in October 
1978. There was none of the 
deadliness characteristic of 
“movement” performances, no 
endless announcements, in-jokes, 
or self-congratulatory introduc- 
tions. Her remarks were sharp 
and funny. 

The concert was a profession- 
ally done celebration of black 
womer: s music and poetry. It was 
staged by a group of black and 
white women in conjunction with 
the Combahee River Collective, 
local black feminists who, indi- 
vidually and as a group, have a 


hand in more projects. more 
books, more meetings. more 
presentations. and more coali- 


tions than i can count. 

Frazier began her career as a 
political activist while she was in 
high school, in Chicago. “I was 
involved in anti-war work. the 
civil-rights movement and in the 
Black Panther Party's breakfast 
program, she said. But “I found 
that within the black-nationalist 
movement, there were very pre- 
scribed roles for black women. 
You’re supposed to be chained to 
the stove, and supporting the fra- 
gile egos of black men. I couldn't 
understand how half a people 
could be denied access to power. 
In 1969 I read The Dialectics of 
Sex, by Shulamith Firestone, and 
that jelled things in my mind. I 
saw what was missing in the 
movements I worked in. I was an 
instant feminist.” 

Being a feminist in the early 
70s did not win her friends or in- 
fluence many people within the 
black community. “There was 
anger that oppression could be 
identified and shared by women, 
in some ways regardless of race,”’ 
she said. 

“So much damage is done to 
black women. Growing up, | 


heard of women being beaten all 
the time. Sitting out on the back 
porch, I heard women say, ‘He 
really beat her good that time. He 
really taught her a lesson. But for 
all the times I heard that, | heard 
others say, ‘That's not right. He 
shouldn't do that to her. And 
those were the voices | listened 
to 

But if the black community 
was unreceptive to feminist 
rumblings the women’s move- 
ment was hardly a haven for 
black women. By the time Sister- 
hood Is Powerful appeared, in 
1970, Frazier was getting suspi 
cious: ‘The thing that irked me 
about that book was tha: class 
and rac. werent discussea any- 
where. Feminism became the new 
way for white women to be 
exemptea trom oppression. 

She said, “White people are 
afraid t deal with racism. White 
women must, it they are princi- 
pled feminists, deal with issues 
like racism which are rooted in 
their emotions and values, and 
that can be very paintui and 
frightening. | listened to lots and 
lots of white women tell me, ‘But 
we re women and therefore pow- 
erless. So how can we participate 
in your oppression?’ It finally 
took black women saying to 
them, ‘Look, I don’t want to work 
with racists, even if they are 
women. 

The Combahee River Collec- 
tive, founded in 1974, became a 
shelter from both a hostile black 
community and an_ insensitive 
white-feminist community 
Named after a river in South 
Carolina made famous by Har- 
riet Tubman’s underground rail- 
road, Combahee was a local 
branch of the National Black 
Feminist Organization, which 
was founded in 1974 and dis- 
banded in 1975. ‘‘My growth as a 


black feminist has happened 
within the collective,’ said Fra- 
zier. ‘‘For two years, Combahee 
did consciousness-raising with 
over 300 black women from all 
over the city and suburbs. 

“Some of our work has been 
done in conjunction with white 
women’s groups in Boston. Sad- 
ly, it sometimes takes a crisis, like 
the murders of the 12 black 
women last year, in order to forge 
meaningful coalitions. | found it 
amazing tha: there were racially 
mixed marches and rallies in Bos- 
ton. That’s an indication that 
some change is germinating — 
though it hasnt gotten to the 
point of a major change. 

Coalition work with white 
women doesn’t allay the fears of 
those black men who attack fem- 
inism as something that divides 
the community. and is anti-male 
and middle-class. Frazier, how- 
ever, claims that women from 
every part of the black com- 
munity are working in various 
ways on women’s issues. She ai- 
so says its become easier to be a 
black feminist in the past few 
years. “The isolation has les- 
sened. We've been able to con- 
nect with other black and Third 
World feminists.” 

Even so, she says that she 
doesn't expect black feminism to 
receive the kind of support that 
the white women’s movement 
has: ‘Talking about a feminist- 
organizing issue like equal pay 
for equal work when your peo- 
ple are only making one-third of 
the income whites are making, the 
issue is more complicated. It'll be 
a while until the black communi- 
tv gets beyond seeing feminism as 
a self-centered movement.” 

That some members of the 
Combahee River Collective are 
lesbians makes their position in 
the black community even more 


precarious. ‘Black feminists are 
all seen to be lesbians,’ Frazier 
said. “‘“And homophobia is still 
running rampant.” 

Five years ago, many biack 
men and women denied the exis- 
tence of anv black lesbians and 
gay men. But with increasing 
numbers of black iesbians com- 
ing out and taking leadership 
roles in communitv-organizing 
work. sexual preference is slowly 
becoming less ot a problem. 
“When it comes to issues and 
work,’ Frazier says, “sexuality 
isn't the barricade it was thougnt 
to be.” Frazier says that the re- 
sponse of black men in the coali- 
tions she has worked with has 
been urprisingly good.”’ 
‘Inevitably atter one of our lec- 
tures, biack men want to talk to 
us,” she said. ‘From black na- 
tionalists let: over from the 60s, 
to men who say, ‘You're righ. 
agree with you.’ And I enjoy that 
dialogue.’ 

The members of the collective 
want to continue that dialogue, 
attract new members, and take on 
new projects Says Frazier ‘We 
want to develop an economic 
analysis And a_ black-feminist 
aesthetic. And we want to work 
with high-school women. And, 
and, ana Look. black-femi- 
nist politics are not going to go 
away. It's a legacy we want to 
pass on to our children 


Kattie Portis 


Daughter 

Oh girl, you look a lot like me 

But you're taller and stronger 
and faster, 

! see. 

‘ hope this world will be ready 
for you. 

~ Bernice Keagon 


Continued on page 14 


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Continued from page 13 

Kattie Portis is known for 
keeping her cool, but her nerves 
were showing during our inter- 
view. The questions and camera 
were the least of her worries. She 
was flying to Washington the 
next day to testify at a congres- 
sional hearing on pregnancy and 
drug and alcohol abuse. 

Despite her denials, Portis is an 
expert on the subject. She is the 
director of Women Inc., the only 


drug-and-alcohol program in the 


state that accepts a woman’s chil- 
dren into residence when she 
comes in for treatment. A former 
addict, she is the head of her 


household, which includes three 
children. Born in Alabama 37 
years ago, one of 11 children, last 
spring Portis received a Master's 
degree in human-services man- 
agement from Antioch College. 
As director of a program with 
an annual budget of $200,000, 
she has stripped lead paint off the 
walls of the program's big, 
shabby house, on Warren Ave- 


nue in Dorchester. She has hired 


and fired staff and developed a 
reputation as something of a 
maverick both within the black 
community and in the big, bland 
state social-service bureaucracy. 
And she’s still called in to coun- 
sel women when they enter the 
program, hurting, hopeless, and 
alone. 

“They say, ‘You were an ad- 


dict? Your kids were in foster care 
and you got them back?’ They see 
me on TV and say, ‘She couldn't 
be,’ ” she said. ‘’I tell them about 
Melba Moore and Natalie Cole 
having been addicts, and it gives 
them a reason to fight and the will 
to hold 

When Women Inc. was get- 
ting off the ground, in 1974, Por- 
tis says, her white co-workers 
started calling her a feminist. ‘’I 
thought of myself as a survi- 
vor,” she says. “I got that from 
my mother. When we needed 
something done when I was 
growing up, we did it. I knew 
what I believed and felt, but I 
hadn’t put it into any context 
yet.” 

She became director of the pro- 
gram over her own protests: “I 


was totally insecure and | didn’t 
have a formal education. I started 
to pray a lot and to believe in my- 
self and the powers that be. There 
were times in my life when I 
wanted to die, and I figured I was 
saved from dying for this pur- 
pose. So I started to accept my re- 
sponsibility. And I also got an- 
gry. 

“There were women dying 
from overdoses and children were 
being taken out of homes and put 
in foster care and neglected. No- 
body else wanted to do this work; 
it was too messy, too painful, too 
time-consuming.” 

Under her direction, a staff of 
white and black, lesbian and 
straight women started to devel- 
op an experimental program that 
used, among other approaches, 


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‘‘radical-feminist therapy.’” ‘‘We 
had to explain that the feminist 
approach wasn’t a white wom- 
an’s thing,” she said. “It’s a 
woman's thing. It’s about sup- 
porting your sisters.” 

But the word ‘feminism’ 
doesn’t enter into life at Women 
Inc. very much, “It just kind of 
happens,” said Portis. “You start 
to care about yourself and your 
sisters, and become independent. 
Sometimes, later, if a woman read 
something or something in a 
seminar speaks to her, she might 
use the word.” Even so, she is 
comfortable calling herself a 
feminist. “I accepted the fact I 
was a feminist as I got more con- 
fidence. For the first time, I felt 
good about being a woman, about 
being a mother. I accepted that I 
can be a mother and a lover and a 
leader. Where I come from, you 
were one thing or another. 

“And then I started to look at 
my daughter, Dawn. I wanted to 
try and prevent some of her pain. 
Not that she isn’t going to have to 
go through her own stuff, but I 
started to talk to her. and I was 
amazed at her questions. 

“I’m raising a little feminist. 
When the women were being 
murdered in our community, she 
was my support, my security 
blanket. And now, we watch all 
the programs on TV that deal 
with women together. We 
watched the special on incest. 
One woman on the program said, 
‘I didn’t know I was sexually 
abused until the women’s move- 
ment.’ And Dawn turned to me 
and said, ‘The women’s move- 
ment. That’s us, Mom.’ 

‘And I really hope I’m raising 
some decent males, too. My boys 
are getting their consciousness 
raised. My 12-year-old son comes 
in and sees me lifting something 
and says, ‘Let a man do it.’ And 
we get to talking about what 
women can do. I'm trying to teach 
them it’s okay to cry and not to 
feel any less of a man. They'd 
never admit it, but my boys are 
learning to be sensitive and sup- 
portive to women.” 

Portis says she wants to write a 
book about her experiences. 
“Part of my responsibility is to 
share and hope it might help 
someone else get through.” @ 


Jimbo’s 
Continued from page 9 
in, ‘Who forgot the onions?” 

A similar problem obtained 


with our serving of fried clams. 
While the crumb batter wasn’t at 


all bad, there was so much of it - 


that the clam flavor was over- 
powered, and to determine 
whether the clams were fresh we 
had to peel away the shroud. 
(They appeared to be fresh, 
which made the masking seem all 
the more superfluous.) The sealed 
container of tartar sauce resem- 
bled the little plastic things rest- 
aurants serve jelly in; the sauce it- 
self tasted like unadulterated 
pickle juice. 

We tried all four of Jimbo’s 
desserts. The best of the lot was 
vanilla ice cream (patently made 
elsewhere) with decent fudge 
sauce ($1). Apple cobbler (90 
cents) was made with canned 
apple-pie filling and a top crust 
that was neither crisp nor flaky. 
Chocolate cake ($1.25) had the 
kind of waxy texture and artifi- 
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Just as our meal had begun 
with cocktails that were ineptly 
made and insufficiently chilled, 
so it ended with coffee that any 
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used to put out the campfire. 

If you are easily startled by 
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yourself. Whenever a tippler 
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an appropriate tip, a deafening 


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THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


You don’t have 
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for March 17 to be 
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Spring 
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simple steps. 


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THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


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Auditions 
Bus. Opportunity 
Job Opportunity 
Job Wanted 
Resumes 
Volunteers 
AUTOMOTIVE 19 
Domestic 
Foreign 
Vans & Trucks 
Cycles 
Automotive Services 
Tires 
REALESTATE 21 
Apartments 
Apts. Wanted 
Commercial Space 
Condominiums 
Houses for Rent 
Houses for Sale 
Housemates 
Inv. Props. 
Land 
Parking Spaces 
Roommates 
Rooms to Rent 
Seasonal Rentals 
Studios 
Sublets 
MISCELLANY 23 
Bulletins 
Legal Notices 
Lost & Found 
Occult 
Pets 
Skiing 
Travel 
Wanted 
INSTRUCTION 23 
Acting 
Arts & Crafts 
Dance 
Health 
Language 
Meditation 
Photography 
Miscellaneous 
SERVICES 24 
Academic Services 
Answering Services 
Artists’ Services 
Business Services 
Children 
Counseling 
Dating 
Delivery 
Home Services 
Carpenters 
Construction 
Electricians 
Painters 
Miscellaneous 
Legal Services 
Movdrs 
Party 
Rides 
Miscellaneous 
FOR SALE 25 
Ant. & Flea Mkts. 
Appliances 
Bicycles 
Clothing 
Fuels & Firewood 
Furniture 
Odds & Ends 
Photography 
Yard Sales 
MUSIC 26 
Audio Visual 
Gigs 
Instruction 
Musical Instruments 
Records & Tapes 
PEOPLE 28 
Messages 
Person to Person 
Personals 
Personal Services 
Escorts 
Massage 
Massage Opps. 
COUPON 31 


The terms Male & Fe- 
male are used for the 
convenience of the 
reader. Sex discrim- 
ination is illegal unless 
a bona fide occupa- 
tional qualification is 
stated. 


AUDITIONS 


People’s Theatre auditioning: 1 
Female 1 Male in ‘teens or early 
20's for Spanish Set play for 
elders tour. Availability needed in 
afternoons Monday through Fri- 
day. Also {Auditioning guitarist 
and tour a manager with car. 
Call 354-2915 9 to 5 weekdays. All 
parts open regardless of race. 


COMMUNITY PLAY 
Actors needed for community 
production of “Boston Before the 
Revolution”. Opens June 26th 
many roles men & women. Multi- 
ethnic cast desired. Auditions 
March 11th, 13th, 18th & 20th. 
Jackson-Mann Community 
School Theater, Union Square, 
Alliston. Call 783-0256 10-12 or 
782-4176 after 6PM. 


ARGYLE PRODUCTIONS 
Actress/singer needed for 
musical review. Auditions 17 
March 7pm at BAG 367 Boyiston. 


"GEMINI SPAGHETTI 

FIGHT” 
Volunteers are needed now for 
the “Great Gemini Spaghetti 
Marathon and Fight” on the 
Charles Playhouse Stage March 
31st. See Gemini free. Phone 247- 
0334 for details. Contestants also 
wanted. 


Attr Fs as xtras. Film satire of 
ba Allen low $ 247-3662 5- 
pm 


SUFFOLK THEATRE CO. 
Third season: The Curse of the 
Starving Class, Partuffe, Curt 
Weill caberet. Open call for Par- 
tuffe Sun. Mar 16 2 pm. Prep. 3 
min. Moliere. Salaried. Also 
salaried tech dir. Call 266-8133 


Cape Cod Golden Anchor is 
auditioning singing 
waiters/resses for summer. 3/15, 
10-5, at NE Cons. Callbacks 3/16. 
r nce tsinging r 

Info 522-3267. 


Aurea, Improvisational Dance 
Company seeks male & female 
dancers trained in improvisation, 
contact improvisation, modern 
ballet. 491-4195. 


Bent, Bosoms & Neglect, Buried 
Child, Da, Deathtrap, Elephant 
Man, Getting Out, Seduced, 
Vanities and many more at 
Baker's Plays 100 Chauncy St 
Jordan Marsh Mon- 
ri 9-5. 


Looking Glass Theater a non- 
equity touring children's theater, 
now acceptin g resumes for April 
auditions. Casting for both 
summer (June-Sept 4 1980-1981 
season (Oct-May). Salaries range 
$100-150/week. Especially in- 
terested in skills in gymnastics, 
magic, mime, musical in- 
struments. Send pix & resume to 
Looking Glass Theater Box 2853 
The Casino Roger Williams Park 
Providence, Ri 02907. 


Pocket Mime seeks exp per- 
former for apprentice position. 
Hard work, low pay, photo & 
resume Bx 269 BBX Boston 02117 


Anti nuclear theatre group for- 
ming. Auditions for Ibsen's “An 
a the People” March 5, 9, 
irector-David Casey, 
Producer-Larry Butler. To Benefit 
Clamshell All. Appt. 547-5007 


Singers for light opera & opera, all 
type voices, be prepared. 

kground important for leads, 
others must sing well. 
Professional paying production. 
Fantastic opportunity. Call 879- 
3930 anytime, leave info. 


Voice Workshop: Actor’s speech 

class. Approaching text, cold 

reading, work through vocal 

Allan Kennedy, 661- 
14. 


Ushers wanted for Court Reper- 
tory theatre production of 
Summer & Smoke. Call 267-9446 


Auditions “Arsenic & Old Lace“ 
will be held at the Church of Our 
Savior, corner of Monmouth & 
Carlton St off the Beacon St T line 
Brookline Sunday March 9 & 10 at 
8 pm. 


CASHIER 


Cashier needed 


for fast-paced 


retail business. Previous bookkeeping 
and/or cash handling experience required. 
Employment applications are available at 


38 Boylston Street, 
Cambridge, Mon-Fri from 11 a.m. to9 p.m. 


Harvard Square, 


tech 


SALES 
HELP 
WANTED 


Earn $15,000 plus commis- 
sion selling the finest audio 
and video products. Base 
salary plus insurance pro- 
gram and fringes. Send 
resume to Couche’s Elec- 
tronic PO Box 1499, Gains- 
ville, Fla. 32602. 


BUSINESS 
OPPORTUNITY 


How | make $300 per month work- 
ing only one hour. No investment. 
Detail send $3 to Lights, 267 

Norwood Ave, Warwick Ri 02888. 


Entrepreneurial apprenticisship 
program. Comprehesnive self 
paced. Learn to make $. 661-0149 


JOB OPPORTUNITY 


PT-TIME BOOKKEEPER 
Arts/Boston needs full charge 
bookkeeper part-time. This uni- 
que position can be tailored to 
your schedule if you are available 
20-30 hrs per week. You will be in 
charge of accounts receivable, 
accts payable, general. ledger 
through trial balance & oe tak 
reports. For initial interview call 
Ms Flanagan between 10am & 
noon 742-6600 


EXTRA MONEY 
Artistic ability essential for atten- 
tion using enamel paint. 
Do your home. Call 
BARBARRETTES 527-4433. 


TAXI DRIVERS 
Full or part time. Low low rental 
rates. |.T.0.A. radio dispatch. Call 
482-0099. 


BOOKKEEPER 
Entry level, full time. Busy job in a 
relaxed atmosphere with good 
people. some secretarial or 
bookkeeping experience 
preffered. $8587 and good 


benefits. Call Sue Anderson 776- 
1516 An equal Opportunity 
Employer 


TYPISTS, top pros wtd, $5 up. 
Intstng varied work. 536-0024 


New faces, over 18, for TV com- 
mercials & fashion advertising. 
Call (212)-757-8173 from 12 to 4 
pm only. G.R.S. 1756 Broadway, 
Suite 5-D, N.Y, N.Y. 10019 


FURNITURE SALES-Full time 
sales help wanted for small in- 
novative furniture store.- 536- 
6152. Contact Manager. 


COUNSELORS 
For halfway house for adult ex- 
offenders. Minimum of three 8-hr 
shifts per week, nights and 
weekends. Stipend, of $10 per 8 hr 
shift. Call 261-1864 


PAID VOLUNTEERS 
Over 18 years in excell health to 
participate in medical research 
under medical supervision testing 
of new & existing phar- 
maceuticals. Good pay. Lodging 
and meals provided. For com- 
plete infor call 522-0303. 


Part time secretary. Brookline 
near T. Friendly, growing, young 
business needs experienced per- 
son, M W F. 566-6064. 


OFFICE CLERK 
College bookstore. Full time. Text 
books. 50 wpm. Benefits. Call 
John 734-7321. M-F 9-5. 


ARTS DEVELOPMENT 
Research & Training experience 
for arts mgt & youth comm 
programs. Somerville redevelop- 
ment project. Volunteer only. 
Apply S.P.A.C.E. Center 12 Curtis 
St Somerville 02144 Send 
resume. 


EXECUTIVE 


Bob Murphy at 969-3100. 


NEWTON 
CLERICAL SUPPORT 
WALTHAM 


Two of our offices need heip! Applicants are 
now being excepted for five positions. Require- 
ments vary according to the positions. and 
salaries vary according to your experience. We 
are a nationwide organization with an excellent 
benefit package including Blue Cross — Biue 
Shield and profit sharing. 


SUPPORT 


For an interview call 


e 
TEMPORARY OFFICE 
PERSONNEL SERVICES 


A Technical Aid Company 


ursing Career with the 


Begin your 
best. New England 


year increases and 


28. 


new ENGLAND 


[HOSPITAL 


fers a 4 week orientation program, ex- 
cellent salary and benefits, three first- 


venient working location near Route 


Falisations are currently being ac- 
cepted and positions may fill very rap- 
idly. Please call 344- 
ask for David Tedesco for additional in- 
formation or for an application. 


Sinai Hospital of- 


a pleasant, con- 


0060, Ext. 215 and 


150 York Street 
Stoughton, Mass.02072 


An Equal Opportunity Employer 


AMATEUR 
TALENT 
ALL 
KINDS 


Send us a video- 
tape of your act (no 
x-rateds). 


lf used in our pro- 
motion or copied, 
we will contact you 
first. 


Fill out the blank 
form below and en- 
Close with your 
video-tape. 


Post mark before 
March 20th, 1980 & 
mail to: 

C.V. Productins 
65 East India Row 
Apt. 35D Boston 
02110 


TAPES WILL NOT 
BE RETURNED 


Name 
Phone 


\Cuminations 


a fast growing graphic 
arts publisher has the 
following opening. Ex- 
cellent starting salary 
and benefits 


ASSISTANT 
BOOKKEEPER 


One year bookkeeping 
experience. 

CRT OPERATOR 
One year data 
entry/typing 
experience and 
bookkeeping 
knowledge helpful. 


Call Tim Swords 
864-6180 


$9.45 PER HR. 


Is what one of my better 
reps earned last week for 
24 hours. We are a major 
publisher and have re- 
cently produced a series 
of book designed to help 
the average home owner 
control this year’s and 
next year's double digit 
inflation. (Double-digit 
inflation means $1.20/gal- 
lon for heating oil, 
$11/hour for a plumber of 
electrician, not to men- 
tion higher taxes). If 
you've you've never seen 
a TimeLife book before 
it's hard to imagine what 
I'm talking about. On the 
other hand if you have, the 
easy to follow instruc- 
tions in this series make it 
simple for the clumsiest to 
Save thousands every 
year by showing you how 
to do the jobs yourself 
around the house. We are 
now introducing this 
series by telephone 
throughout New England. 
The hours available are 
8:30 to 1, 1 to 5,5 to 9. I’m 
in the market for intelli- 
gent people who possess 
a clear telephone voice 
and a well-rounded 
knowledge of the English 
language. Call 723-2470. 


TIME 
LIBRARIES, INC. 


an equal opportunity employer 


| Secretaries 
1 ‘Typists 
Clerks 


Kelly 
wants to help. 


that’ s why you should call 
Kelly Services. Because 
you've got good skills and we 

om help you put those skills 
to work. Call today. i 


The 

People 
SERVICES 


3 Park St. 
Boston 
742-7300 
607 Boylston St. 
Boston 
262-2200 
1430 Mass. Ave. 
Cambridge 
876-6400 


An Equa! Opportunity Empioyer 
M/F 


| 


Not an agency - Never a fee 


NURSE 


AIDES 
PART TIME 
FULL TIME 


Immediate all shifts, for 
EXPERIENCED hospital trained nurses 
aides. Work ' day per week or 5. Work 
downtown or suburbs. Excellent hourly 
rates, shift differential, never a fee. 

A passes and health insurance 
available. For appointment please call 
the office most convenient to you. 


18 Tremont St., 6th Fir. 
Government Center 
523-3190 
405 St., Waltham 
893-6370 
567 Pleasant St., Brockton 
697-6919 


TEMPORARY PERSONNEL 


| 
— — 
| L. 
3 
| | 
| — 
| 
| 
| 
| | 
7 | 
< 
| 


United Farm Workers urgently 
needs exp NCR computer 
programmer and 2 accountants. 
For into call 617-542-4548 or write 
Florence Zweber, Fin. Dept., 
UFW, PO 62 ‘Keene, CA 93531. 
Jill of all trades. Typing 60 wpm, 
dict hipfi. Di hith ins forms, out- 
reach to patients. Resch asst. Sal 
neg. % to 1 day/wk to start. More 
later. Box 5260. Send resume and 
cover letter promptly 


SECRETARY 
RECEPTIONIST 
Harvard University Graduate 
School of Design 3-5 years ex- 
perience 60 wpm, dictaphone, BA 
preferred excellent benefits 
Stimulating work environment 
should be able to communicate 
effectively with diverse groups. 

495-2526. 


RESUMES PRINTED 
ee Lina by COPY COP, 815 
St, the Pru. Dial C- 


Pocket Mime seeks exp lighting 
technician/road mgr. Word well 
with people, much travel. Send 
resume Bx 269 BBX Boxton 02117 


CARPENTER 
Boston Shakespeare Co. is look- 
ing for a full time carpenter. 
Theatre experience preferred. 
Salary modest but livable. Call 
267-5600 M-F 11-5. 


ADMINISTRATIVE ASSISTANT 
YOUTH PROGRAM 
Alternative special needs school 
needs person with college degree 
and Somerville residency. Must 
have good typing and editing skills. 
Experience with adolescents pre- 
ferred. Send resume to — 

Youth 
156 Highland 
Somerville, MA 02143 


WANTED young energetic F for 
housekeeper & companion for 
slightly handicapped male. Room, 
board & salary. Call 536-6155 
anytime and keep trying. 


Children the next generation, 
elderly the last. Job avail in home 
situations. Work as much or as lit- 
tle as you want. Jobs avail now. 
Ref req. international 
Homemakers. 233 Harv. St. rm 
32, Brookline. Please call 566- 
7901. Also 1354 Hancock St. 
Quincy Mass. Rm 205. 472-7789 


ENVIRONMENTAL activists. Do 
you want a job you can feel good 
about? Green Peace needs paid 
fund raisers to work for this years 
campaign. Details call Randy, 
542-7052. 


Outside full time March 20 thru 
Nov work is hard at times but 
pleasant sense of humor helpful 
$3.50 to start Longwood Cricket 
Club 731-2900. 


PART TIME JANITOR 
2 hours per day, Mon thru Fri, 
hours flexible. Apply in person 
Mr. Tonelli, Writewell Company 
108 Mass.Ave. Boston. 


We need live in and day workers 
with cars for child care and 
homemaking. Call International 
Homemakers at 566-7901 M-F 
btwn 9-5. 


JURORS NEEDED 
For mock trials Sat morn, March 
22 in Boston and Cambridge. Pay 
$15. Call Cheryl Brown or Jessie 
Hill. 482-0890. 


BOOKKEEPER 
Entry level full time. Busy job in 
relaxed atmosphere with good 


CAR RENTAL AGENT 
We will train a full time 
dependable person who can 


BOOKEEPER 


Part time through trial bal- 
ance. Capable of handling all 
phases of monthly account- 
ing cycle, receivables, pay- 
ables, payroll taxes, and gen- 
eral journal entries. Send 


people some secretarial or 
bookkeeping exp preferred. $8, 
587 and good benefits. Call Sue 
Anderson 776-1516 an E. O. E. 


THEATER POSITION 
Wanted- Box office asst 30+ 
hrs/wk for Let My People Come at 
the Boston Rep exp pref will 
accept work-study students Call 
Abbey 423-6580. 


Full time counselor in group home 
for ED MR children. Experienced 
male encouraged. Degree re- 
quired. 723-4722 


Science fiction cartoonist, fun job, 
low pay, for short termfree-lance 
assignment. Send samples (will 
be returned) to Box 5327 


WORD PROCESSOR 
$6+, we néed you a day per week 
or month. Downtown Boston. Call 
Tracie at 227-7380. 


SECRATARY 
Investment firm. Government Ctr. 
$170-$190 per weex, full or part 
time. Call Tracie 227-7380. 


Part time couriers needed with 
car. Hours negotiable. Minimum 
wage. Monthly mailing included. 
Call 492-4656. 


F with drivers license fam with 
Boston to ans phone, run errands. 
Dungerees a okay prefer sign app 
or stu for work in signshop part 
time now full time later if 
applicable to business. Write P.O. 
Box 426 Hyannis Ma. 02601 


Great pay, easy work, no hassles. 
Send name and address. No 
money pl. Groleau, 17 Donnell 
Street, Lewiston Me 04240 


$250.00 
correcting contest entries weekly. 
No experience neccessarr. Free 
info write: CY 427 400 Comm. 
Avenue Boston Mass 02215 


RESUMES 


The only resume outline you will 
ever need. Complete with instruc- 
tions. Send $3 PO Box 703 
Stoughton MA 02072. 


VOLUNTEERS 


The Loon & Heron Children’s 
Theater is launching an eight 
week performance series begin- 
ning March 22nd. We will be 
presenting some of Boston's 
finest performing artists, in- 
cluding the Next Move Theater & 
the Pocket Mime. Volunteer help 
is needed in the following areas: 
box office, ushering, flyer dis- 
tribution, tech crew, group sales, 
ad sales & promotion. Please help 
the Boston area develop a fine 
children’s theater. Call June Fine 
247-8156 or 267-7416. 


RED CROSS SEEKS 
DAY-TIME 
VOLUNTEERS 


American Red Cross, Greater 
Boston Chapter, a United Way 
Agency, sks Volunteers for the 
following:Blood Drive Aides - 
registering, donor room, canteen 
Caseworkers - Disaster, Service 
to Military Families; Fund Raisers 
- Special Events; Instructors - 
CPR, First Aid, Water Safety 
;Disaster - On-The-Scene; Com- 
mittee Members. Training is 
provided. Call Susan Donahue, 
262-1234. Outside of the Boston 
area, contact your local Red 
Cross Chapter. 


"GEMINI SPAGHETTI 
FIGHT” 


Volunteers are needed now for 
the “Great Gemini Spaghetti 
Marathon and Fight’ on the 
Charles Playhouse Stage March 
31st. See Gemini free. Phone 247- 
0334 for details. Contestants also 
wanted. 


CAMBRIDGE 


Immediate long & short term te: 
exe eeks, months. We need clerk 
plat 45 wpm min). Copy typists, (60 
wpm min). We offer super rates, vaca- 
pay, bonus. Health insur- 
e & MBTA pass available. Never a 
0 ‘Don de delay, hurry into our Harvard 


5 BOYLSTON ST., CAMB. 
491-0491 


Temporary Personnel 


TYPISTS NO FEE 


LET 
OLSTEN 
HELP YOU! 


WITH TLC ¢ BONUSES 
BENEFITS ¢ TOP PAY 


CALL 


BOSTON 
CAMBRIDGE 
426-3910 


SEN 


TEMPORARY SERVICES 
We know how to help. 


equal opportunity employer 


Avrtomorwe 


DOMESTIC 


1980 AMC Eagle sedan, 4 whi 
drive auto, A??C sun roof. 
Custom stereo, rear defogger, 
power door locks, tinted windows. 
5 year rust proof, fog lights, tilted 
steering wheel 7,000 miles. $8395. 
438-6781 


1975 AMC GREMLIN-great condi- 
tion no body rust no dents 
automatic 60,000 miles light 
green 444-5418, 536-4290 $1650 
Matthew 


1976 AMC HORNET 
4 door wagon, excellent condition 
inside & out, many extras, bo over 
$2100 Call 566-4438 eves or 723- 
8750 wkdays. 


1975 AMC PACER 
good condition, biue sedan, stan- 
dard 3-speed, new battery, all 
good tires, 6 cylinder, low 
mileage, am radio with fm con- 
verter. 764-8343 or 285-3805. 


75 AMC Pacer X, automatic, 50,- 
000 mi, good mpg, new batt, 
reliable trans, AMFM stereo, great 
body. Must sell askg $1900, 367- 
0110 days, 491-4703 eves. 


73 CADILLAC Sedan De Ville, all 
options, new radials, runs “Ee 
call evenings, John 783-0507. 


76 CADILLAC EI Dorado Baritz. 
Classic, 2 dr, black/black leather. 
Mint condition, loaded, 57K miles, 
15 mpg. Over $22,000 today, 
$5200 or best offer, or trade for 
Porsche. 617-374-7460 or 603- 
329-6429 


CADDY Limo, bik, 1969, extra 
fine, new trans, eng overhaul, new 


MAN 
For small architectural 


office in Boston. Salary to 
be based upon skills and 
experience send resume 
to: John Sharvatt As- 


sociates Inc. 35 Fenwood 
Rd., Boston, Ma. 02115 


Needs waitress and barten- 
ders and sound engineer full 
and part time. Call Bill Grahm 
4 pm-9 pm. M-F at 491-7313. 
$$$$ want to own your own 
business. We have a restau- 
rant available minimum 


investment. Call Bill Grahm. 


deal with customers and is resumes to — shocks. Firm $1350. 268-5185 

good with figures. Flexible Joe. 

hours, benefits and salary to 958 Boylston yond BRAND NEW CAR 

be determined. | Boston, MA 02115 RED CROSS SEEKS VOLUNTEERS a 
between 10 and 5. 536-6769 American Red Cross, Greater Boston Chapter, seeks Brand new Grundig Electronic 

267-6661 Volunteers for the following: auto-scanning pho with 

& Health - R.N.’s, instructors, committee mem- L.E.D. dial display Also station 
HOUSE MANAGER reset adaptor. Never been used 
HOTLINE PART TIME For job descriptions, or if your organization would like a ie sell for $240. Call Steve days 
Responsible for overseeing presentation, please call Susan Donahue, Director of Volun- 536-5390 ext 512. 
COORDINATOR evening operations of theatre, teers, 262-1234 X 236. 

: ’ audience ushers in front of 1976 CHEVETTE, exc. cond. 43,- 
Responsibilities include house. Send resumes to 000 well maintained mileswith 
phone and drop-in counsel- Next Move Theatre complete serv. hist. 1.6L eng, 4 
ing, coordination of informa- 955 Boyiston St. sp, radials, tach. a nice, reialble 
tion, fund-raising events and Boston, MA 02115 LIKE TO DANCE? ? NEED AHAND ? car. $2300 or BO. 783-3411 eves 
training plus cleaning. Four 536-6769 INSTANT CASH or weekends 
days — 12 noon to 7 pm, one $350 to $400+ PER WEEK. NO EX- Enjoy Shorthand. $12 com- 
day — 10 am to 7 pm, Sun- CALL ||| Plete. Instant train-at-home | | 1978 CHEVROLET Impala, 2 
days — 7:30 am to 9:30 pm. SALES ANNE AT DIAMOND ASSOC. program. Free guidance. Full door, exc cond, $3200. 19 mpg 
Salary range is $8000-$9000 PROFESSIONAL THEATRICAL. 120 BOYLSTON Guarantee. Order fr. Career highway. 969-3391 or 339-8056. 
plus benefits. No phone calls STREET, BOSTON. Training Ctr. 53S Main St., 
please. Send resume to: New England enter- 482-0256 Concord, NH 03301 SAVE $ MONEY $ 

CODE, Inc tainment publication ON CAR SPEAKERS 

P.O. Box 767 seeks sales pro for ac- KRIKET series 6000 auto stereo 

Acton, MA 01720 new equipement. WH. tor 
tion. Sales experience EARN UP TO $200 A DAY WAITERS AND $84 a pair. Goll Siwes days 536- 
more important than Or more! No experience nec- WAITRESSES 5390 ext 512 
advertising experi- essary. Sell Thief Grief, a Full or part-time shift avail- ice 2 hrd 
ence. Salary plus com- major breakthrough in burg- able. Call Dave Harding for||| pe’ CHEVY Caprica 2 ar 
mission with excellent lar alarms for homes and appointment 10 to 2 daily. yA GM aed re 
benefits. Call 617-443- business. Inexpensive, of 436-9422. Call 364-9880. 

3009 or send resume A lg investment. Ca James H. nn Shops 1973 CHEVROLET IMPALA- 2 
and letter to Bob Reed, door exc cond & 
9 Rolling Lane, Sud- | } —— or best offer 
bury, MA 01776. -SECRETARY/ OFFICE || LIVE ROCK CLUB | 769-0861. 


74 CHEVY Impala. A??C, AM-FM, 
new tires, good condition. $800 or 
best offer. Days 426-1843 eves, 
395-6237 


75 CHEVY Impala, new exhaust 
system, power steering, power 
brakes, 53,000 miles, 20 mpg. No 
rust, excellent condition. $2100. 
ha either Pete or Dave 375- 


THE BOSTON 


ADVERTISING CAREER 


The Boston Phoenix seeks an entry level appli- 
cant for its classified advertising department. A 
growth opportunity starting at $150/week. Must 
be able to converse on the telephone and type 40 
wpm. Send resume or see Rick Kisonak, The 
Boston Phoenix, 367 Newbury St. Boston. 


PAY: 


ing. 


WORKING TIME: 


QUALIFICATIONS: 


or 472-3624. 


ATTN: NORFOLK COUNTY RESIDENTS: 
The 1980 Decennia!l Census will be taken April 1, 
1980, by the Bureau of the Census, many posi- 
tions are available NOW. 


Many employees will be needed and wili be paid 
on either a piece rate or hourly basis depending 
on their job. For a 40-hour week, you can earn 
$135 or more. A seperate fee will be paid for train- 


Persons employed will work up to 40 hours a 
week or more. Field employees will have to work 
some evenings and Saturdays. 


Applicants must take a written test measuring 
their abilities to read and understand printed 
instructions, to do simple arithmetic, to perform 
clerical tasks, and other things. 

If you are interested pléase contact: Tricia De 
Luca, Steve Crowley, or Bob Stanton at 472-3623 


You can make excel- 
lent money working for 
one of New England’s 
leading newspapers. 
Telephone sales posi- 
tions now open in the 
morning, afternoon, 
and evenings. Great 
pay, excellent atmo- 
sphere and conveni- 
ent to all public trans- 
portation. 
Do it now — 
Call Mr. Mattlock 
in Cambridge 


661-3802 


COMMUNITY 
SUPPORT 
STAFF 


Be part of a human 
service resource team. 
Full or half time. Pro- 
vide community skills 
training to people with 
past hospitlization. 
Evenings and week- 
ends, some flexibility. 
Starting salary $159.78 
per week. Benefits. 
Malden area. Equal 
Opportunity Employer. 
For more information 
contact 

Ms. Janet Gault 

322-6020. 


1977 CHEVY IMPALA 
2 door with full vinyl top, ps, pb, 
ac, steel-belted radials, good con- 
dition 665-5389 or 665-0873. 


72 CHEVY Impala. automatic, V8, 
excellent running condition, Body 
in good shape, snows, car located 
in Brookline. $800 or best offer. 
Call Mon-Sat. 595— 8992 or Mon- 
Fri 726-8583. 


1974 CHEVY MALIBU runs & 
looks like new, $1295; 592-1250. 


CHEVROLET Malibu 1972, fully 
equipped, AMFM, runs like new, 
needs some body work, $500. 
325-1582. 


1975 CHEV MONZA- am-fm save 
gas vinyl top bucket seats carpet 
3 speed transmisssion good body 
$2100 or bo call 337-6512 eves. 


77 CORDOBA. ac ps pb sun roof, 
cruise, power seat/iocks, tilt 
wheel, steel radials, leather, AM 
FM 8 track. Asking $4200. Steve. 
491-6387 or 271-3056. 


LOOK AT THIS 
1977 DODGE ASPEN Special edi- 
tion - Metallic blue, low mileage, 
good on gas, air, power windows, 
real nice car. Book value $3200. 
Now $2495. Call 592-1250. 


1977 DODGE Charger S E Air 
cond. PB PS AM-FM stereo. Good 
radials, velour interior. Navy- 
white vinyl top. Excellent 
transportation. Asking $2800. Call 
332-5695. 


78DODGE Diplomat wagon. 
Loaded with extras. Dark green, 
leather interior. !mmaculate con- 
dition. Gets good mileage. $6500 
or mee offer. Call after 6 pm 767- 


1973 DODGE Polara custom. 2 dr 
sedan. AT, AC, PS, PB, radio, new 
tires, new snows, huge trunk, Exc 
cond. $950 655-0290 


1976 FORD ELITE 
2 door, white with red interior, a/c, 
power windows, quad stereo, 
many extras, low mileage, $2300 
or best offer 289-4364 eves. 


79 FORD FIESTA 
New Aug 1, 7,000 miles, fwd, 4 
speed, hatch, Michelins, am-fm 
stereo, rustproofed, perfect con- 
dition $3800 327-4421. 


1974 FORD LTD 
power steering, power brakes, air 
conditioning, vinyl roof, rebuilt 
engine has 15,000 miles, best 
offer- must sell. 259-8388 
evenings & weekends. 


1978 FORD LTD, blue, exc. cond, 
59,000 mi., radio, AC, PB, PS 
rustproof, $2800 or $1700 & 
payments of $63 p/mo. 620-0066. 


1973 FORD MAVERICK, 2 door, 
AC auto, ps, must sell, $1295 or 
best offer. Engine overhauled, 
new exhaust system & brakes. 
332-0097. 


1975 FORD MAVERICK- exc cond 
18 mpg, 4 door, 6-cyl, auto $1450 
498-8786. 


1979 FORD T-BIRD 
ps, pb, pw, air, stereo, 2000 miles, 
$5500. 321-9705. 


72 FORD T-BIRD-2dr, blue w vinyl 
roof, AM/FM, ps, pb, pw, 54,000 
mi. $2000 or b.o. 522-7024 or 552- 


5279. 

$50-$75-$100 
For full size junk cars & trucks. 
925-2100 


76 GRANADA Ghia, brown, 4 door 
ps, pb, air cond, AMFM stereo, 
power windows, power seats, 
priced to sell, $2800 or B O. Call 
Don after 6 at 894-6338. 


75 GRAN TORINO- 2dr white vinyl 
hardtop bot new 76 56k miles ps, 
pb, air, stereo, needs minor body 
work best offer 969-6532. 


1975 GRAND TORINO p/s p/ba 

& rust proofed excellent condi- 
tion $1100 891-2344 or 413-443- 
1948. 


1978 MERCURY GRAND 
MARQUIS- 4 dr dove grey a/c, 
stereo, tilt wheel, sunroof $4995 
584-2736. 


GOOD GAS MILEAGE 
76 MUSTANG Il- 33,000 miles, 
metallic blue, ps, pb, auto, exc 
cond, $2850. 233-3017 after 5 pm. 
4- cylinder. 


1971 PLY Duster, vy wi maint, no 
rust, sl-6, AT/R/H, 22mpg Must 
be seen. $1750. 492-7640, 6-8 
p.m. daily. 


1973 PLYMOUTH SATELLITE. 
Small 8cyl. many new parts, very 
gd cond 68K mi. Must sell $1990 c 
all Millio aft 5 at 567-3711. 


LAND ROVER 88 a breed apart 
4x4 7 passenger station wagon 4 
speed 4 cyl removable top $800 
or BO Call Bruce 641-0507. 


168 LINCOLN, 2 door, black with 
mag rims, needs right front panel, 
asking $600 or B O. Ask for David 
696-6676, after 6. 


CLASSIC 


LINCOLN 

1976 Lincoln Mark IV, rare 
Givenchy designer series-aqua 
blue mettalic with white trim and a 
white landeau roof. Light biue 
velour interior with a wood-grain 
dash and every interior option, 
plus a Pioneer Supertuner 
AM/FM/Cassette deck with EPI 
Speakers. This car was ordered in 
1976 with every possible option- 
bar none. This includes power 
sunroof, sure-track braking, 
cruise-control, chrome wheels 
with wide whitewallis, vanity 
mirrors with lights, ect. The car 
has been parked inside since it 
was new and could pass for a 
1977 or 1978. Original cost was 
$17,700, asking price is $5,500 or 
make an offer. Call Bill evenings 
at 367-3242-the car may be seen 
in Boston. 


LINCOLN TOWN 
COUPE 
1976 loaded, one owner exc. con- 


d. inside & out $3800 is peanuts 
for this gem. Call 592-1250. 


72 Maverick, new tires, new 
mounted snows, new exhaust, 
new front brakes, runs well. B O. 
Call 731-3422 anytime or 326- 
4606 after 6. 


WANTED MUSTANG | 
1967 or 1968 Convertable 969- 
6532. 


SAVESS$S$ 
79 MUSTANG 4 cy. 25,000 miles 
$4495 592-1250. 


78 OLDS Cutlass Salon Super 
cond air cruise AMFM pb ps 4 
radials maroon with tan int sport 
rims and mirrors hiway miles map 
light 36000 mi Call 289-1103 after 
5pm 


‘69 Plymouth Fury, gd running 
cond, $250. call 492-9164. 
CUNBIRD 

1978 SUNBIRD sprt cpe, dk green 
wht landau rf, V6, 5 spd, PS, alum 
wheels, radials, elec rw defroster, 
positrac, & many extras. 39,000 
mi. exc cond, 25 mpg, $3800 or 
BO 484-2141 2-8 pm. 


1978 T-BIRD LANDEAU- fully 
equipped $4800 or best offer. Call 
442-4096 between 7:00 am & 4:00 
pm. 


1976 THUNDERBIRD-classic 8 cy! 
loaded exc cond $3200 firm 
3269688 days 325-5947 nights. 


‘Lt HOUVW ‘OML NOILO3S ‘XINSOHd NOLSOS SHL 


| 
| 
| 
staff builders: 
ers 
CASH 
$ LOTS OF 
\ 
| 
| 
iB} 
‘ 
i 


20 


THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


74 VALIENT 6 cyl, 4 dr, auto, A/C. 
Hi miles but in exc cond. $1000. 
Call George, 964-1486 eves, 366- 
8546 days 


1975 VEGA wagon exc cond in & 
out exc gas mileage $1300 call 
after 3 668-6238. 


1974 wa vry good cond. 


ore shks, gen, etc. 
all 876- 3263 


FOREIGN 


‘60 AH Bugeyed Sprite-needs 
restoring, comes complete w/ 
many spare parts incl:radiators 
drive shaft, rear end, seats, doors, 
dashboard, gauges, tow bar etc. 
$1800. call for details 283-2759 
mornings. 


AUD! 100LS- 1974 62,000 miles. 
sunroof, ac, am-fm, ps, pb. many 
new parts $2095 277-3843. 


1973 AUDI 100LS - 66,000 miles 4 
cyl, dk green, exc cond. $1650- 


$1800. 232-1727 eves or 
weekends. 542-6060 days. 


1974 AUDI Fox 1 owner 69,000 
miles gd mec cond. No rust. New 
radials 20-30mpg, reg gas. $1750 
or BO. Joel: 253-1756 days. 


1974 AUDI FOX 
a/c, exc cond, 39,000 mi, Call 
after 4 Joe 326-7679. am/fm 
radio. 


MINI COOPER S 
66 AUSTIN 1275 in exc cond. Ex- 
tensive mods: engine, body, int., 
All work prof done with factory 
parts or better very fast. A unique, 
must see car. Call 401-863-5912 
eves 


1976 BMW 2002 4 sp. Sunroof, 
Blaupunkt brown driving 
Day 893- > lag Eve 653-0457. 
$6000 or B 


1972 BMW 2002 Tii, super sprint 
exhaust, quartz lamps, a classic 
for a true BMW lover. excellent 
cond. $4900 426-0550 


1978 BMW 320; SIERRA 
Beige sun-roof 4 speed air cond 
mags cloth seats low miles 
Blaupumtet stereo takes r jas 
min cond. $9995.00 Call 3839192. 
Can be seen in Boston. 


1971 CAPRI-$150, many new 
parts, runs 524-4255 eve. 


1974 FIAT 128-S 36 mpg, 48,000 
mi front wheel drive. Moving-sell 
ASAP. Needs vent window 
$900/BO Call 3/16 742-6082 Love 
car. 


1976 FIAT 131S-AM/FM, a/c, 28,- 
000 mi, 1 owner, 28mpg, $2700. 
John 759-7515. 


1972 FIAT STRADA-5spd am-fm 
cassette frnt whl drive 9500 mi 
28/35 mpg exc cond wrnty $4950 
Terry dys 787-5993 eve 344-8714 


HONDA/Water cooieo VW's 
rebuilt engines installeo $795. 
Available through participatin 
jobbers New England Cranksha' 
Co. Call 354-7466. 


Body 


Specializing in foreig: 
and FREE estimates. 
location. 


Repairs 
and Painting 


years in the same 


Columbia Auto Body 


Ave, Boston: Mase 2191 
254-8888 Bring this ad for 10° discount. 


JENSEN-HEALY 1974 exc cond, 4 
spd, hardtop, swaybars, Konis, 
| AM-FM. $5600. 631-6056 


1973 RX3 MAZDA for sale. Best 
offer. Car in good condition. Calli 
491-2542 in the morning ask for 
Seth. 


1966 MERCEDES 200D- 4 spd 
new brakes, exhaust. Excellent 
condition $2200 or best offer. 
245-8478 after 6, anytime wkena. 


Mercedes 250 sedan, new engine 
and auto trans, new exhaust, 
great shape overall, $5500 invest. 
Sell for first reasonable offer. Len 
686-8191. 


1979 MGB with xtras 9,000 miles 
exc. condition $6800. 1-603-668- 
5453. 


parts from professional 


winter driving ahead 


BECKER 
SUPPLY 


59 Commonwealth Ave. 
West Concort 


Tired of Discount Auto 
Parts 


Wrong Parts, Incomplete Inventories, 


inexperienced Clerks? 
Why not buy your auto parts where professionals go! Instead of 
getting sloppy auto parts from neat clerks, secure neat auto 
“Auto Parts People.” We have trouble 
getting them to tuck in their shirts but they know cars, and can 
advise you on your car’s needs — getting it in tip top shape for 


721 Massachusetts Ave. 


Arlington Newton Upper Fails 
964-2100 
AUTO 967 Main Street 52 Montvale Ave 


Waltham Store) 
-7400 


438-3188 
220 Waverly Avenue 27 Dunster Street 
Watertown West Newton 
924-6930 969-9700 


184 Oak Street 


Stonenam 


1975 MGB, 4 spd conv, reg A 
22mpg, exc cond, 44K, FV 
| cassette stereo, brn interior, musi 
| sell. Call aft 6pm 277-7348 


1976 MGB conv, leather int, FM 
radio, alarm, low mileage, exc 
cond, $3800 or B O. Call 762-2586 
after 6 


1972 OPEL wagon. Automatic, 
good condition, regular gas, $950 
or best offer. Call 369-2058 after 4 
pm. 


1974 OPEL model 1900 wagon, 4 
cyl. 4 speed, 1 owner, exc. cond. 
$1495; 592-1250. 


1971 Peugot, radials, AM-FM 
casette, beige, 97,000 miles, 17 
mpg city, 23 mpg highway, primo 
cond. $2000. 547-2699. 


1975 PORSCHE 914- Zambez: 
green, 1.8 litre, 82,000 miles, exc 
running, some body damage, best 
offer. Bob 661-014 9. 


SAAB, 1974, 99EMS, silver. 
reguiat gas, AM-FM, 67K mi. 
$2495 or best offer. Call Jeff 926- 
8180 evenings/weekends 


1975 SAAB 99LE sedan. Beige 
fine condition, 69,000 miles. Frnié 
whee drive radials. snows, A/C 
FM stereo, ali brakes newly 
overhauled. Cooling system new 
well eg for. $3250. Call Chet. 
782-8773 

1976 SAAB 4 door, chocolate 
brown, auto, ps, new head gasket 
exc cond. Must sell $2950 or BO. 
1975 Datsun, 2 door, 710, 4 spd. 
air, reg gas, mint cond, $2600 or B 
R O. 1974 Datsun pick-up, 4 spd, 
$2100 or B R O. Call anytime 774- 
7728 


72 SAAB 96- exc cond 30mpg on 
reg new Michelins fr shock, etc 
econ & reliable-good service 272- 
8266 or 876-3378 eves Greg. 


1975 SAAB-brown, 99LE 
automatic air cond am-fm radio 
$3500 or b.o. call 7-8am Mon-Fri 


1978 SPITFIRE-overdrive, 
AM/FM cassette, rust-proofed, 
39000mi. $4200. Framingham 
620-0066. 


1979 SUBARU 4wd GL WAGON- 
air, stereo, rust-proof, etc. %100 
factory warranty. $6295. 276-6438 
days, 664-3864 eves & wkends. 


78 SUBARU BRAT. 20,000 , iles, 
roll bar, flood lights. AC, heater, 
excellent condition. $5500 firm. 
Cail Tim 233-2502 before 3 pm 
weekdays. 


1976 TOYOTA 
CELICA autom, only 27,000 mi, 
just tuned, a/c, radials. snows. 
exc cond, AMFM stereo, cali Lin- 
da 734-3607 keep trying. 


70 TOYOTA Rbit trans. ac gd tires 
runs ok Mike eves 325-9276. 
$300. 


1977 TRIUMPH TR7, like new, 5 
speed, 20,000 miles, sunroof, new 
tires & battery, 30 miles per galion 
highway, Chapman lock/alarm 
system, $4500 or B © Call 723- 
8463 weekdays after 5:30 


1974 VOLVO 144 A. Excellen: 
condition, 52,000 miles. $3600 or 
BO. Must sell. 668-7883 


68VOLVO 
4 door,auto,Dk. Green exterior 
Brown int. new muffler,gooc 
around town car, gd. cond. Ask- 
ing $650. Call days 482-8726 
after 7 491-3367. 


VOLVO 
73-145 Wagon. Air cond/Auto 
trans/Radials/FM  stereo/Root 
Rack. Miles and miles of smiles. 
Call Jeff. 646-0565 after 6. 861- 
6180 days. 


1979 VOLVO 242-exc cond, gar- 
aged, 4cyl, 4 speed trns. 24,000 
mi. Asking $6995-negotiabie. Call 
603-934-5346 or write D Hobden, 
Box 275 W Franklin NH 03235 


782-9124 Pat 


1975 SAAB-43,000 mi, excellent 
condition, must sell. $3300 or best 
offer Cali 769-0285, 769-5975. 


| 

Your Automotive 
Specialist 


Now, in addition to our 

automotive air condition- 

ing sales and service we 

operate a moto: vehicle 

| inspection station. We 
sell, install and service: 

| Absorbers Heaters « 
| Cruise Controls » Burglar 
Alarms « Power Windows 


(#17) 876. 8300 


86 Sherman St.. 


| Ma 


1973 SAAB 96 
75,000 miles, good mechanical 
condition, many new & extra 
parts. Cali Nick at 326-5136. 


1969 VOLVO WAGON good cona 
no rust 20 mpg am-fm rack 
radials many new parts bought in 
Germany run forever. $1350 bo 
926-1697 


DYNAMITE USED CAR 
VW 411 1972 4dr super shape 
am/fm radials divorce must sel! 


CINDERELLA CARRIAGE CO. 
Your One Stop Shop For 


| Volvo Parts 


{ 47 SMITH Pi... CAMB. 876-1781 


| OFF CONCORD AVE. 


BY FRESH PD. CIRCLE | 
J 


4 


NORTHEASTERN 
ENGINE WORKS INC. i 
SPECIALIZING IN | 
NEW POWER FOR 
VW AND PORSCHE 
200 ANDOVER STREET 

WILMINGTON, MASS. 01887 
(617) 944-2607 | 


| best offer 


| 


DATELINE: Watertown,MA 


Oil price hikes mean a 
10-30% increase in tire 
prices by June 1 


GOOD NEWS 


Sat., Mar 15th only 


(One Day 


Haul~a Day Sale 


Only) 


165 SR 15 | 560-15 E 76/14 155 SR 13 
i Uniroya! Kleber 

radial Hwy, VW Biack 
PY 60 Poly w/w Steel Radial 


MICHELIN 
QT. Price 
6 195/70 HR 14 XVS 84.56) 
4 185/70 HR 13 XVS 75.50 
10 205/15 w/w 82.0") 
6 230/15 w/w 98.00) 


NON RADIALS 


6 600/12 w/w 25.01 
11 615/13 w/w 25.00 
14 H78/15 Belted w/w 39.9% 
20 H78/15 M&S w/w 38.9%: 
20 E78/15 M&S w/w 31.9 


RADIALS 

Price 
36 165/SP 

stee’ beltec 35.50 
2° 

stee beltec 44.06 

185/70 HR 

stee’ deltec 55.95 
22 185/70 HR 

stee deltec’ 66.95 

195/70 HP 

stee: Delter 66.95 

85/70 HE 

Stee: Delter 67.95 

DF 78/ 

Genere w/v 42.95 

General w/w 44.95 


Custom Wheei Specials 


3 P215/75-15 FST 


727 w/w 47.50 
5 BFG 
T/A RWL 88.00 
SNOW TIRES 
Price 


4<. 155 SR 13 steei radia 34.50 

165 SR 12 steel radia 36.50 
‘3 165 SR 15 steei radia! 40.00 

Conti Contacts 

3, SP 12 stee! radia’ 43.00 
2, 155 SR 13 steei radiai 40.50 
29 165 SR 13 steel radial 42.56 

! 175 SR 14 steel radial 60.00 
1% 185/70-13 steel radial 53.50 
27 185/70-14 steel radial 58.50 


Western & Western Wire Basket 
White Spoke White Spoke 14 & 15” 
15x8 16.5x 8.25 *43° $59 nuts 
31° 16.5x9.75 included 


Terms: 

All Prices Include FET 
All 1st Quality Tires 
No blems or seconds 


126 Galen St. 
923-1800 


Between Newton Corner'& Watertown Square 


Engine Rebuilding — 


Audi — 


Fue: injection Specialists 
ioyota — Honda — Datsun 


FIRST STREET FOREIGN AUTO] 


324 FIRST STREET 
CAMBRIDGE MA 027141 


Repairs on all VW's 


547-6544 


Major-Minor Repairs 


$1700 offr 353-1513/357-9000 x 
320. j 


1974 VW bug, 30 mpg, AMFM 
cassette, excellent all around, 
$2000, 592-1928. 


67 VW for sale: rebuilt engine & 
front end, good body cond, other 
new parts. Call 424-1998 
eves/wkend. $ negotiable. 


72 VW Beetle, radio, new tires 
ood interior and exterior, $1400. 
all 661-1606 before 9pm. 


VW RABBIT 1975 auto trans, only 
40,050mi, 30 mpg, am radio, good 
car, have 2nd car, must sell for. 
$2500 327-5651 day or evening. 


1979 VW SCIROCCO 
Red with black int glass sun- 
moon roof, kamei spoiler, quartz 
driving lights, alloy wheels, rust 
proofed. 8 mos left of warranty, 
brand new, 3,000 miles. Days 284- 
2400, eves 289-2726 Kerry 
1973 VW sqbk. 64K mi. new auto 
trans & paint. A/C, exc mech con- 
a. $2000. Aft. 6 522-3339 


67 vw / sqbk: runs, needs exhaust 
wor,. 7 tires, radil, recent starter 
and generator, $250. eve 864- 
0909 Day 735- 4553 


1972 VW SUPER BEETLE- brand 
new rebuilt engine, new brakes & 
clutch sun roof, needs minor 
body work & 2 tires. $1400 orr 
best offer. 653- 4981 or 653-2076. 
1071- Sup Btti ‘Semi- auto, runs 
exc. nigh mil, int good, ext exc, 
new paint. sun roof, AM FM, new 
radials, Best offer over $875. 965- 
0096 Stan 


VANS & TRUCKS 


1977 Cheverolet completely 
customized, AM-FM stereo w/ 
cagsette, sun-roof, pinstriping, 
3928" Exc cond 00 524- 


1973 CHEVY BLAZER 4-speed 
cheyenne package low mileage 
new exhaust system Orks bttry 
wide rims & tires fiberglass & conv 
root extremely dependable $2900 
days 275- 2525 eves 275- 1113 
1973 CHEVY C10 pick-up, 8’ bed 
AMFM radio, vy gd mechanical 
shape $1200 call 666-9198. 
1974 CHEVY-Haltton, 350cc, 
standard transmission, $2000 or 
Cali 449-2118 days. 
843-3696 eves & weekends. 

73 3 CHEV SUBURBAN C20- 4x4 ps 
pb nu clutch, brakes. tires runs 
great ini very good radio & tape 
4spo $2500 or BO Mark 5261474 


» FAST DRIVE-IN SERVICE 
‘FAST MOBILE SERVICE TO 
YOUR HOME OR BUSINESS 


WE SPECIALIZE IN AUTOMOBILE 
GLASS REPLACEMENT 
& 

SUNROOFS 


feign 


"INSURANCE CLAIMS PROMPTLY HANDLED 


; MAIN OFFICE 287 SALEM ST. WOBURN 
FROM LOWELi. AREA CALL LOWELi. 459-2635 


(935-7620, 


if you want the best 
Forget the rest. 
We get the job done i 
‘Cause we're #1 ; 
COLLISION REPAIR AND 
PAINTING 
LOWEST ESTIMATES 
POSSIBLE 


HALL & SON H 
AUTO BODY : 
95A Seattle St 


Allston i 
254-9767 . 787-4620 | 


UEFFREY-PLLAD | 


INOQUBTAIES INCORPORATED 


FOR TOUR CAA 


Made In U.&.A. under continuous quality control and inspection 


1001 COMMONWEALTH AVE. 


ELLIS 02215 782-4777 


TIRED OF RIPOFFS 
On Auto and 
Cycle Insurance? 
CALL US: 
Thomas Blac: 
Insurance Agency, {nc. 
482-7865 


Sneciciisis in Kurapeai 
Auto Maintenance 

MERCEDES - BMW -- | 
PORSCHE JENSE! N 

MCG -- AUSTIN HEALF 
STREET, I 
‘AMBRIDGEPOR" 
864-826:) | 
for the 


Discerning 
i 


Amazing additive 


TMT Dist 
1430 Mass.. Ave., Suite 307-30 
Cambridge, Mass. 
661-2622 


| 
‘ae 
| | | 

389-9540 

- | 
| | f i 
i 
: 
1 
| | 

i 
| 

Stee! 
| and SP, LA 
| co \\ LIDS 
( 
| 


1975 CHEVROET EI Camino. 
Classic, low mileage, stereo tape, 
auto, loaded, no rust, 522-5396. 
$2200 or best offer. 


1975 CHEVY Van. G-20. Insulated 
& carpeted, excellent condition. 
Must see. Best Offer. 396-5923, 
Vinnie 


1979 CHEV VAN G20 
V8 350, 3 spd, std, 18 mpg, 16,000 
mi. hd suspension, alarm system, 
customised, mint. Radials, 
polyglycoat, Rusty Jones, bullt for 
X-country travel. Must sell. Price 
nogotiable from $7800. Call 
207-642-3019. Local 729- 


stereo, mags, 15000 mi Must sell 
$7800 Wade 935-7307 or 475- 


1979 GMC half ton pickup. 250 6 
cyl standard, 18 mpg, 18,000 
miles. Excellent condition, must 
sell, moving. Best Offer. 222-5240 
after 5 pm 


76 GMC half ton Van: Blue new 

tires shocks batt 8track stereo CB 

$2300 firm. Brockton, 
1. 


4-WHEEL DRIVE 
1971 INTERNATIONAL CREW 
CAB 4 speed ps, pb, 41,000 
original miles; $1200; 592-1250. 


1972 VW bus, 7 pass, 45K mi on 
rebuilt eng, cond. $1900 or 
B O. 965- 


1979 VW Camper van with pop 
top roof. Condition new, 12000 mi. 
Sleeps 4 adults & 1 child. Sink, 
water, ice chest, stove. 734-5648 
after 7 pm. 


1971 Volkswagon Bus newer 
engine new battery & rear brakes 
good tires just tuned ideal 4 music 
group $900. Jon 472-0174. 


CYCLES 


1000's Vacancies-Area’s oldest & 
largest agency. Many selections. 
Kids, pets, ad OK. 625- 


$Metro$ 


ARLINGTON HEIGHTS - 3 
bedroom, ciean, like new in 
duplex house, porch, quiet yet 
near MBTA, hardwood floors, 
adults only, $550 heated. Sec 
deposit & last month's rent re- 
quired. 729-6520. 


BACK BAY 
Newbury Street-large sunny one 
bedroom in elevator building. 
$475 includes heat. Available Feb 
15. Call after 6PM: 964-7385. 


76 CHEVY van, G10, 6 cylinder, 
standard, 43,000 mi, 18 mpg, 

$3300 or B O. Must sell 442- 


‘DATSUN SAVES 
78 Datsun Pickup-Shortbed with 
fiberglass cap, 4 speed, snow 
tires, am-fm stereo radio, only 
7000mi A-1 cond a steal at only 
$4800. Call 876-0119. 


1979 DODGE KARYVAN-12’ 
body, dual rears, 360 V8, auto, ps, 
36 gal ri gas, alarm system, 
5 ton G.V. 15,000 orig mi. 
$7900. Call Ernie 458-8811. 


1972 DODGE Sportsman camper, 
completely set up for pcan 
winter camping, 18mpg, reg 
must be seen $3000. 631-1 
work 247-5440 Denise. 


77 DODGE van 318, auto, ps, new 
batt, carb, looks & runs great, 
must sell immed. 935-6747 days 
or 681-9151 eves, Andy. 


1975 DODGE van, 318, auto, pb, 
ps, air, cruise, customized loaded, 
southern van no rust, mint cond, 
$4100. 325-3278. 


1977 DODGE VAN- B-200 v-8, 
auto, mags, flares, murals serious 
offers call 994-6609 NB asking 
$7000 negotiable. 


‘79 ECONOLINE Cargo Van E100- 
302 V8, std trans, w/ overdrive, 
ps, rust-proof, rear & side win- 
dows, insulated, 16000 highway 
mi, $4800 or b.o. 547-0657. 


EQUIPMENT TRUCK 
1978 Ford F350 12’ woodlined 
body pwr str & brk 60 gal tank reg 
gas alarm, stereo $11,000 new 
best offer 631-7272, 744-1577. 


1977 FORD- van E100 std 6-cyl 
43,000 mi partially customized, 
mural, wide tires, am-fm cb, lots 
more $4500 call after 5 687-1984. 


1977 FORD E150- 6' Stepside 
pickup 4 spd 4x4 am-fm stereo 
radio 2 complete sets of tires 
snow & all terrain full lights & 
mirrors 50,00 miles Call David 
= 5 $5,000 or best offer 443- 


1977 FORD f150 stepside pick-up, 
4 wheel drive, 2 compi sets of 
tires-snow all terrain, AMFM 
stereo, sliding rear window, full 
mirrors & lights, 50,000 miles, 

or B O. Call Dave anytime 
aft 5 443-4562. 


1967 FORD Econoline-1970 
rebuilt engine am-fm 8-track, in- 
sulated mags needs work $600 or 
b o 734-3323 


1961 FORD F100 
Utility boxes, 6 cyl, like new, 
southern truck, low milage, runs 
well, new brakes & shocks, $1000 
or BO. 927-4969. 


.71 FORD window van, new clutch, 


steering box, rebit trans, starter, 
302 V8 eng runs very well need 
body work $400. 232-0781 


78 FORD TRAVEL VAN 
E 150 window, 6 cyl, 20 mpg, has 
all travel equip inci bed, dinette, 
AC, storage cabs. Custom ins. 


1976 RENEGADE JEEP 
V-8 automatic, 4 wheel drive, hard 
top, 11-15 tires, black, new 
shocks, engine & transmission 
just rebuilt. Call nights 277-5159. 


1978 SCOUT Trav 118WB, auto, 
air, 4 wd, more. Rustproof, 17K 
mi, cost 11K, first reas offer takes 
it, reg gas, call Hal eves 429-4647. 


1978 SUBARU BRAT rolibar flood 
lights air heat 4 wheel drive good 
cond 5500 firm call Tim bfor 3pm 
233-5502 


1978 TOYOTA LAND CRUISER-4 
wheel drive, 6 cyl, 4 spd, locking 
hubs, AM/FM cass stereo, 5 snow 
tires and 4 highway tires, rust- 
proofed. Asking $5700 or b.o. 
581-3938. 


HONDA-750-four 
upersport 13,000 Mi luggage 
rack, ex. cond. $1900. Please call 
after 3pm, 623-2338. 


HONDA 74 360CB $500 
Runs well, clean, only 10,000 
or 426-4356 after 5. Ask 4 

lark. 


Brand new (400 mi.) 1979 Honda 
custom Sune Stored all 

inter igger bike. 
Priced at $2800 (1980's are 
$2600) serious inquiries only. 
354-7958 eves. 


LEASE & NO LEASE! 
BACK BAY-nr Sym Hall, weil 
managed bidg-sunny stu $195, Irg 
1 bdrm $225, just pntd 2 bdrm 
$300. Avail now, must be wrkng 
convt loc, res supt. 262-4588. 


BACK B-Mari St sunny 1bd, Irg 
lvng rm, frpl, wrkng people only. 
Now. 267-6191. 


BACK B-nr Fenway Pk-stu $230, 1 
bd $320, must be wrkng. Boston 
Comm Re, 353-1935, 267-6191. 


1975 HONDA 200 CBT. Under 
3000 mi. Unbelievable cond. Hits 
70 mhh. Ask for Benji or 
Terrance. Best offer. Call 489- 
3478 Moving 


GRIMSON TRAVEL SERVICE 


Departure dates: 


MONTEGO BAY 
 $369-$399 ....... 


Marth 12; 
April 8, 15, 22 


Includes round trip air on Pan Am charter, 7 nights ac- 
commodations at the HOLIDAY INN, transfers and tel 


BELMONT/WATERTOWN small 
room, unfurnished, for rent w 
kitch priv. Non-smoker. 
References. Nr. public transp. 
$160 9231914. 


BRi-in hse Irg mod 1bd, full eat-in 
kit, tile bath, prkg $340 htd. 783- 
1024. 


BRi-base stu $160, needs work. 
232-0050. 


NO LEASE 
BRi-1bd $219, stu $199. 232- 
0050. 


BRi-in hse modern 3 bd, eat-in-kit 
tile bth $265 unhtd. 783-1024. 


CAMB- Visiting profs from 
Holland seek housing in MIT/Har- 
vard area 4/14-7/7. Call William 
Conrad 253-4143 9-5. 


CAMB-2 bd w prkng $330. HOME 
oa. cash fee $40. 923- 


DORCH - Huge sunny 2 bed, 2nd 
fl, bay wind, hdwd fl, mod K&b, 
porches, f&r yard, walk to Sav Hill 
Sta, $235 owner. 265-2557 eves. 


DORCHESTER- 3rm sunny 2fl tile 
bath shower incs heat h/w app! on 
red line parking yard sec ref pref 
GWM or GWF $290 Box 51 


DORCHESTER- 2bd 5rm apt 1fl 
on red line near bks stores nice 
loc $275 util sep pref 
=_— Ig kit din Iv pant Bx 


BACK BAY 
Newbury Street-large sunny one 
bedroom in elevator building. 
$45000 Also available for rent. 
Call after 6PM: 964-7385. 


Victorian, Watertown, 6 large 
charming, unique units, 4 rms & 6 
rms on 2 levels, some frpls, base- 
ment, prkng, low taxes, mid 30’s- 
high 40's, financing available. 
965-5455. 


Mod time-sharing condo, Loon 
Mt. sips: 12, last 2 wks in April. 
Tennis, ind pool, sauna. 
$1900/wk. 383-6545. 


CONDOMINIUM 
& 


Investment Properties 
Brookline, Back Bay, 
Fens, Brighton, Allston. 


Boston Common 
Realty 
425 St., 


267-6191, 353-1935 
1216 Commonwealth Ave., 


Brighton 
| 566-2000, 734-4016 


DORCHESTER- on red line exc 
neighborhood students welcome 


TRA 


TODD 
Mar. 29; 
Apr.12; May 4, 24 


Includes r/t motorcoach transportation to N.Y. (boxed lunch included), 
accommodations for one night, top-priced seat to SWEENEY TODD or 
EVITA, Sunday Brunch at MAUDE's, and more! 


TICKETS ARE SCARCE! RESERVE NOW! 


“NEW YORK CITY 


sweeney SHOW TOURS 


$05 EVITA ($2.50 pp 


Mar.22; Apr. 19; May 3 


Plus departure tax 


HOUSES FOR RENT_ 


SOUTH WEST MAINE-mountain 
top 4 bedroom house on 200 
secluded acres located just 125 
miles from Boston for rent or for 
sale. Call in Boston 389-7682. 


HOUSES FOR SALE 


J.P. near Ros. 3 fam. 5-5-5 front & 
rear porches, new elec., insula- 
tion, owners apt. avail. $35,500 
Call owner days 524-1602. 


HOUSEMATES 


ALLSTN 3F4M 24+ sk 8th into co- 
op Ivng for happy musical hse in 
safe nbrhd. Rm is smi but so is 
rent. Avail April 254-5774 


Includes round trip iz 7 nights accommodations at 
Casino Resort, transfers and more! 


day Beach Hotel an 


Plus departure tax 


$459-$479 


Departure dates: March 5; April 9 


TOYOTA Land Cruiser, 4wd, exc 
cond, 28,000 miles, extra set of 
new tires, $3900. 738-7269 
evenings. 


TOYOTA-Truck. Must see. No 
dents no rot. Cro. whis exc tirz & 
shks. Also 71 Celica-exc 4 parts. 
For complete infor call Jon 325- 


1973 VW bus 80,000 miles, engine 
& body good, new transmission, 
six roiiale. extras. $1400 Call 965- 
1145 or 547-1595. 


NEW & DEMOS! 
1979 DATSUN 810’S! 


jrom 


BOSTON 
DATSUN 


Most have air conditioning, stereo radios, power 
steering, power brakes, & auto trans. All carry a 


new Car, 12,000 mi., 


12 month guarantee. 


78 Honda 750, 4 cyl, super-sport, 
13,000 mi, luggage rack. $1800. 
Call days before 4:00, 682-3888. 


1978 SUZUKI GL1000 9K fairing 
saddiebags AM-FM radio exc 
condition $3470 one owner 
bought new May ‘79. Just tuned 
492-4914. 


SUZUKI GS750E. Windjammer 
fairing, electronic ignition. Much 
more. Excellent condition $2400 
or B. O. 321-8326 nights 


1979 SUZUKI GF 550- 36,000 
miles mint condition many extras 
$2000 or best offer Cali Steve 
after 5 337-2642. 


For Sale: Mini-bike frame $20. 3 
motorcycie tires sizes 4.10x18, 
3.00x21 and 3.25x18, $20 each. 
749-7124 


1977 YAMAHA 400 Enduro DT. 
1000 miles. Call Mark 922-6972. 
Scared. Excellent condition. 


TIRES 


SNOWTIRES: 2 Concorde G78- 
15, 4-ply bias snows, run less than 
9,000 mi. Mounted on heavy-duty, 
5-lug, all steel rims. $85 the pair, 
firm. Call Clif, afternoons 536- 
5390 x524. 


1979 DATSUN 810 
2 Dr. hard top, choose white or 
maroon colors 
list price $9598 
New Car Guarantee 
Disc. Price 


56775 


Stk. 9617 


1979 DATSUN 810 
4 dr. sedan, diamond mist color 
list price $9808 
New Car Guarantee 
Disc. Price 


$6775 


Stk. 9621 


Snow tires: winter isn’t over! 2 new 
145R13X Michelin Radials & rims; 
2 F78-14, new & rims; eves, wknds 
leave message 7346056. 


Hr 70x15, steel belted radials. 
White raised letters. Good for 30,- 
000 miles. Cost $400. 2 for $120, 4 
for $225. Mike 254-6695. 


MONTREAL 
WEEKENDS 


Includes rn jet, transfers, 2 nights at various selected hotels, sightseeing 


and more! 


MAKE ROACHES 
TAKE A POWDER 


1 Ib. of Roach Prufe 
patented, odoriess, 
non-dusty powder 


+5% 


Sales Tax Delivered 


EDWIN DIST. 
(617) 327-5300 


P.O. Box 130 
904 South St. 


Roslindale, MA 02131 
Checks or Money Orders 
Sorry, no C.0.D. 
BOSTON-Newly renvatd 1 br apt 
w fireplace, attrac & sunny. Ownr- 


occ bidg. Close to T. Parkg avail. 
$330/mo. Gay or Str. 247-3837 


$200 REWARD 

BOSTON must move now from 
beautiful 
street near the pru. Rent $535/mo 
will give $200 incentive for 
someone to take new lease. For 
info call 577-2822 day 749-8390 
after 6 


BRIGHTON ‘% house 2 floors 6 
rooms Sunny, pets OK Gas heat & 
hot water. $300. plus utilities. 787- 
9070 


BRIGHTON-BROOKLINE- 2 
bedroom 2 bathrrom 2nd floor of 
house parking & heat inciuded 
$495 277-1267 preferably in mor- 
ning. 


BRI-Irg cln sun 3bd $425. 232- 
0050. 


BRi-sunny apts Bos Comm RE 


1979 DATSUN 810 
Station Wagon 


Mahogany Cofor 
list price $10,074 
New Car Guarantee 

Disc. Price 


87595 


Stk. 9592 


1979 DATSUN 810 
2 Dr. hardtop, maroon color 
list price $9078 
New Car Guarantee 
Disc. Price 


*6567 


Stk. 9614 


18 BRIGHTON AVEe Junction 1100 Comm. Ave. 
Tel: Sales 782-9600: Parts 782-0181: Service 782- 6697 


APARTMENTS 


ALL AREAS 
1,2,3 br. Some kids, pets. Free util 
from $130 up. 625-0600. METRO. 
Largest selection. 
ALLSTON-2bd_ waik-in, 
$330. 232-0050. 


in hse 


566-2000. 
BRi- studio house $215 787-4463. 


BRI-giant cin sun 1bd $295 232- 
0050 


BRI-off Comm-ig sunny 1bd sep 
kit, cln & pntd $290 htd 783-1024 


BRi-nr Brkin, mod bidg, 1 & 2 
bdrms from $320, very secure. 
566-2000. 


BRl-excellent selection 3 bds 
now! $525 htd. Bos Comm Re 
566-2000. 


BRi-nr trans extra Irg mod stu w 
eat-in-kitch tile bath $235 htd. 
783-1024. 


QUEBEC CITY OPTION: Extend our weekend with 1 of 2 nights ac- 
commodations at the Chateau Frontenac or Quebec Hilton, tour of Quebec 


ibdrm apt on quiet~ 


CALL FAR INFORMATION! 


3 fam 5 rooms $225 month Call 
Mike evenings 265-1771. 


FENS-1bd $240 nr NE. 232-0050. 


JAMAICA PLAIN-4 rms, ex! cond, 
mod k&b $225. Aliso 5rms, $150 
nds work. Let's deal. 876-4741. 


KENMORE SQ-avi immed. 1 
bdrm with hdwd firs & bay wndw 
near B.U. & T. heat & hw incl. $340 
call Dorothy 227-7890 days and 
598-2730 evenings. 


SOMERVILLE-6 room newly 
renovated apt. on top floor. Quiet, 
private home. Lovely views, all 
utilities, $450/ mo. Responsible 
adults only. Call 492-4792 from 2- 
5 except Sunday and Monday. 


SOUTH END large studio $260 mo 
full kit & bath, ww, ac, hot wat 
parking close to T very clean well 
managed 247-2385 after 6. 


WALTHAM studio apt for Bi or 
gay yng male sep ktcn pvt bath 
comp remodeled rent negot PO 
Box 611 Waltham, MA 02154. 


APTS. WANTED 


$100 REWARD 
Know someone moving? Seek 1 
bdrm apt Inman/Harv/Cent Sq 
nd/3rd fi pref. No bsements. Wkg 
oe $250 tops 666-2712 PM/8 


Out of town bus e» exec WM age 50 
sks F to share sm apt in or near 
So. End. Will help pay rent & ex- 
penses. In town only 2-3 days 
week Box 5317 


Harvard prof and family seek 4 
bdrm hse, commutable to Camb; 
move in Aug 1-9, 1 yr lease; call 
547-556 after 9 pm. 


ALLSTON- we are 2F 2M seeking 
a woman or man mid 20's & up to 
join warm supportive household. 
Share meals, chores, visions of 
social change. Big house w/ gar- 
den residential nbhd near Hvd 
Square $110 + 783-5565. 


Opening fo 2 M/F coopyouse in 
Allston $105/month 254-0042 


ARLINGTON - 1M, 1F sk F 25+.3 
bdrm apt in hse nr T, frpi, porch, 
friendly people, we smoke, lease 
$115+. Avail now. 646-1880 after 
6. 


ARLINGTON CENTER- rm in 
big comfortable hse. Share 2 
Ivrms & kit w 4 adults + 2 pt-time 
boys 9 & 11. Separate food. $190 
incl util 646-1473. 


ASHMONT HILL- red line 2M/2F 
sk resp wkg hsemate 12rm Vic 
$115 + share kit bath Ivrm frpl 
piel 265-8030 B4 9pm no 


BILLERICA. Friendly non— sexist 
person or couple to share 
wonderful home. Near T & 495. 
465-7149, 263-1451 


BROOKLINE Beautiful 10 room 4 
bath overlooking 
lake,needs 3 more people to 
share 3 bedrooms on Route 
9,garage, ample parking, full 
acre. Males or Females. $250 and 
uptutilities. Call eves 738-1360. 


CAMBRIDGE or near - Semi- 
retired WM, not gay, plus aging 
male dog seek home. Responsi- 
ble, personable. 262-3858. 


CAMBRIDGE M/F 30+ to share 
large beautiful single family house 
in Brattle Street area. Cathedral 
ceiling, fireplace, sun decks, 
screened porch, garden. $200 + 
utilities 661-0011 


BiWM 23 jz-rk drummer seeks to 
move into hse/apt on long term 
basis. Want place w/friendly peo- 
ple where | can play. Pref nr Ari- 
Camb Call 662-8033 no rowdies 
or sex calls please. 


CARLISLE CONTEMP 
Beautiful country home to share. 
Mature professional female 
prefered. $275/mo. 369-8419 
after 6. 


1W wanted to join 1W & 2M in Ig 
Dorchester hse. fpl, yard, 
washer/dryer, on T, $85/mo util. 
825-5955. _ 

3 young professionals seeking 
same 22-26 to share a 4 bdrm 
house & expenses in Framingham 
Call Scott 879-2960 ext 3220 days 
and 877- 7326 eves. 


FRANKLIN- GWM 27 to share 3 
bdrm seek responsible person 
$175mo Call aft 6 sincere 


Musician seeks apt or room. Will 
sound-proof. Basement, loft okay. 
628-3374. 


COMMERCIAL SPACE 


MARTHA’S VINEYARD 
Commercial space, good location 
for rent call 1-693-1341. 


CONDOMINIUMS 


responses only. 528-7219. 


HANOVER- GWM 30 sks GWM-F 
2 shaare modern cheery well-kept 
home; 2 min from Rt 3 reasonable 
rent. Call for details 826-9292. 


HINGHAM. i 3ssional couple 
seeks same .'.nare our antique 
famr has'se. $300 per month 
Available march 15. Cali 749-3100 


JAMAICA PLAIN-4 person 
cooperative household looking 
for professional woman. Near 
Jamaica Pond and T. Fireplace 
large sunny house. Share most 
cooking. Mostly vegeiarian. Call 
after 6 ‘Pp. m - 524- 1986 


0861 ‘LL HOUVW ‘OML NOILOSS ‘XINZOHd NOLSOS 


= = — a 
| 
| 
tm 
Boe 
rates are p.p. dbl. occ. 
Gy. Center BURLINGTON «Harvard Square  Newtonvilie Center“ Vinnin. are 
| 
~| cation up to 7 rooms. 
: | _ 
| 


22 


THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


JP. Housemate wanted-Beautiful 
vegitarian-macro coop house 1 
blok from Pond & T $255 month 
all util included 524-1586 after 6 
pm 


avail., porch, walk to T. $155 mo. 
inc. h & hw, 482-4100 x242 9-5 


ALLSTON - F rmmt wntd, shr w F 
mid 20's, $130/mth now till Aug, 
near T. Call 787-2452. 


MELVILLE PARK Share college 
Profs’ neat 12 rm Victorian house 
on red line, seeking profesional 
male $225. 267-9391, 436-1538. 


NEWTON 

Easygoing responsible person for 
house on quiet lane near Newton 
North H.S. 15 min to dtown on T 
or tpke firep! brook in priv backyd 
prefer 25-35 professional 
oriented $175 & well worth it Dave 
956-6480 days 783-0514 eves. 


NEWTON. Share 3 bdrm house nr 
T. Garr., W&D, DW, $208.15/mo 
+ 13 util. 969-4683 


NEWTON - West, M or F for in- 
dependent household, large 
room, $175 includes utilities. John 
332-2953. 


NEWTON- 1M 1F sk 1MorF share 
hse large furnished (optional) rm 
safe pkg pub trans $160+ util Call 
Mark 668-1045 Iv mess 


ALLSTON- easygoing F to share 
apt with 1M 1F one mile from Har- 
vard Square acces to T $125 o 
call 254-0943 April 1. 


ALLSTON- 2 Female roommates 
needed for 3 bedroom apt April 
1st til May or Aug $150 /month 
254-6616. 


ALLSTON. Wanted for 4/1, Resp. 
indep. person pref F for large 
bedroom near MBTA. Rent $170 
incl ht & hw. + % utilities. Many 
extras. Call Ellie 782-6459 6-10 
pm 


Allston/Brookline- GM sks neatt 
nonsmkg GM to share sunny 
clean 2 bdrm apt $195/htd 566- 
6062 after 5. 


ALLSTON-Female in 20’s share 
apt with 2 others. $130 everything 
included. Near Macy's. 
March—end of August. Call 787- 
2452. 


NEWTON CTR- 1M or F 30+ to 
rent 3 rm suite w pvt bath shr k & 
Ir w 2 ad & ch lIge secl hse veget 
non-smoke no pet yard mu-st st 
be easy w 6 yr old $275 inc ut & pk 
332-7469. 


W. NEWTON 2M 1F sk 4th to com- 
plete spac home. If you sk bright 
friendly company but value in- 
dependence & privacy let's talk. 
$145/mo +utl. No tobacco or 
pets. 964-5082. 


Waterfront home in Quincy needs 
GM 30+ $250 includes utilities. 
Call 472-5576 


SOUTH END - 2 GWM 
professionals seek 3rd to share 
large house. Own room, 
$200/month, all utilities, serious 
inquiries only. 536-0839. 


STONEHAM 
Prof M 35 sks F 25-35 to share lux 
condo fully furnished avail 4/1 
reply PO Box 405 Stoneham 
02180. 


SUBURBAN organic homestead 
offers room/board in exchange 
for garden/livestock/home help. 
Hours flexible. Relevant ex- 
perience preferred. Telephone 1- 
784-8670 after 5:00. 


1 person needed for house in 
Winchester Mass. 729-5707. 


NEED 1 PERSON 

to share a warm home, good 
friends, in a knockout mansion; 4 
acres along Charles River just 
outside 128. Tennis, canoe, swim 
& ice-skating. Gardening & large 
woodworking shop. $290/mo plus 
share food & util. Call O.J. at 244- 
9222 days or 444-7325 wknds. 


Lean to the left? Join us we are 
near Brandeis, 128 and the T. No 
strict veggie, no tobacco, sorry no 
pets. e $100+/mo. Call Bob 862- 
3120 ext. 209 or Rick 891-1558, 
keep trying. 


Stable & respon F to share 9rm hs 
w 3 rmates. $158/mo incs ht 2 pch 
2 bth w&d near rd line. Ph 825- 
5355 12-2 or 7-9. 


Gay male household wanted by 
responsible professional, where 
security, sensation and power ad- 
dictions are known not to work, 
and where love and higher con- 
sciousness provide more than 
enough emotional fulfillment for 
all. If interested in starting, join- 
ing, continuing, or expandin 

same. Write: Box holder P. P 

Box 174 Newton Centre 02159 


F 25 needs to share apt or house 
rent free in order to attend school. 
Will pay own expenses & share 
housework & util. Call 545-3956 
after 8pm Cindy. 


F & child are looking to share a 
summer house with quiet people 
near water. Any location outside 
city. 401-751-3161 eves. 


Prof masc GWM or cpl to share Ig 
Vict home with same on red line 
nice area util inc maid laundry fac 
parking office space own rm sec 
dep ref req sg! $350 cpl $450 
quiet sin person only should apply 
no pets yard avail 3/1 Box 5166. 


LAND 


OLYMPIC REGION 
Adirondack Mnt. land cabin 
sights-open-wooded-large-small- 
views-owner financing, low down 
paymnt call 617-734-2457. 


PARKING SPACES 


Parking for rent!!! 41 Bay State 
Road. One block for Kenmore 
Square. Call 536-3913 


ROOMMATES 


ACTON- 2 M 1 F over 30 energetic 
thoughtful & caring. Seek 1 F for 
spacious semi-veg coop house. 
Nice area near T $125+ 263-1451. 


ALLSTON- 2F seek F to share 3 
bdm apt prefer nonsmoker 23 
prof or grad student avail 4/1 846- 
4507 days 787-0468 eves. 


Allston seek mature prof WF to 
share a wonderful 2 bdrm housé 
with busy WM 26. Avail 4/1. Must 
be seen $188. David 787-0362 


ALLSTON. M 23 sks neat, depen- 
dable, non-smkg, wkg, M for sun- 
ny, spacious, 2 bdm apt. Pkg. 


ARLINGTON-rmmt wntd 2 bdrm 
ac prkng pool nr Rt.2 $215 incl 
heat hot wtr call Rich 8-11 pm 
646-5608. 


ARLINGTON HEIGHTS- Mature 
responsible roommate wanted, 


BELMONT/WATERTOWN- F 
rmmt wantd to share spacious 3 
bdrm apt w/ 2 Fs near Cushing Sq 
$110+ avail immed Call Eve or 
Sue 484-2085 after 6 or wknds. 


BEVERLY-Female sks same to 
share furn tobacco free 2 bdrm 
apt $90 +utl & phone interests 
incl feminism & cats 922-4548 


BOSTON area. GWM 23, respon- 
sible, considerate and friendly 
looking for same to share your apt 
or find one in Bosotn area Box 


ROOMMATE WANTED 
BOSTON- rm wanted for Brigham 
Circle area apt 3 bedrooms, nice 
view avail now, full kitchen, wall to 
wall Call 445-4926 eves. 


BOSTON- Roommate wanted, 
sunny 3 bdrm apt on Comm Ave w 
view of river April 1 $150/mo call 
247-2938 eves or 227-7890 x 120 
days. 


GWM mid 30's seeks responsible 
GWM to share renov So. End 2 
bdrm frp! & all amenities, space 
for yr furniture. Conv loc, pkg no 
problem. Rent share $212.50+ 
utils (gas ht) lease & secy. Write 
Box 18-759 Boston 02118. 


BROCKTON RENT FREE 

Cozy 3 rm apt. WF 18+ 6 mo baby 
OK Free rm & brd in xchng for 
baby sit 9 mo cocker pup nts. 
Share w/clean prof nt wrk WM. U 
B clean, honest. No drugs. call 
Howie 6 pm to 3 am for info now. 
586-3654 days 2 3 pm 344-9936 6 
pm to 3 am 


BRIGHTON- responsible person 
for sunny 3 bdrms on T. 
$133/mo+ 782-5861. 


BRKLNE-1 bed in warm-cozy 4 
bed apt M/F. Must be very clean, 
reliable. Share food, make this 
your perm home $131/incl heat. 
Avail 3/30. Near 3 T lines. No pets, 
no cigs. Call eves. 566-5310 


BRKLNE-Prof F 26+ to share Irg 
beaut 2 bdrm apt near trans, wad 
nonsmkr, no pets, $250htd& util 
732-5606days, 566-5270 
ev/wkends. 


looking for GM to share good siz- 
ed apt near Brigham Cir. Call 738- 
5652 weeknights 6-8, weekend 
morning 10-12 Rent $150. 


BROOKLINE- M/F 24+ prof or 
student wanted for 3 bdrm apt 
w/2 M near T & stores $117+ util 
566-4774 eves. 


BOSTON Part time F grad stdnt 
seeks prof F or grad 26+ toshare 
fully furn 2 bdrm apt (need own 
bed). Bldg clean & quiet, have 


BROOKLINE - Female wanted to 
share 3 bdrm lux apt near T, a/c, 
dshwsh, etc. $200 o incl heat, 
gas. 738-4940. 


CAMB - rmmt for Irg apt Upland 
Rd area, sm bdrm, must be 
responsible, etc, no pets, no cigs. 
$235+ sec dep. 492-0285 7-9pm. 


CAMBRIDGE-Male or Female 
wanted to share the warmth and 
comfort of a newly remodelled 
townhouse near Harvard Square. 
Own room. Spacious living room 
with fireplace, beautiful dining 
room and kitchen, $217/ mo. + 
utilities, heat. Call Lucas 666-4990 
9-5; or Sharon, Alon or Steve 491- 
8744 5-12. 


CAMBRIDGE - M looking for F 
roomate for 4 rm apt . Call after 
7pm Mon-Fri 491-7448. Ask for 
Pat. 


CHARLESTOWN 2 rmmts to 
share 4 bdrm apt with 2 men. We 
are responsible, in mid-20’'s, 
prefer a non-sexist, cooperative, 
ecologically aware household. 90- 
& utils. 242-3033, 773-1164. 


CLEV. CIR. F needed for 3br apt 
w/2 working F $162/mo incl 
ht&hw near stores, laundry, 
MBTA newly redone, Call 
evenings 277-3544. 


CLEVELAND CIRCLE- F 21+ to 
shr Irg sunny apt w/ 3F near T & 
stores no cigs/pets $130 dep Call 
232-2229 aft 6pm avail 4/1. 


CLEV CIR GWM 25 sks M/F rmt 4 
spacious 2 bdrm $150/mo incl ht 
+ hw immed occup avail call 
David evenings 566-1140. 


CRIMSON TRAVEL 


CRIMSON TRAVEL SERVICE HAS THE BEST TRAVEL VALUES 


Harmony Hall, Belmont 


| ‘ BERMUDA 7 Days/6 Nights 


WEEKLY SPRING SPECIALS 
Bermudiana, Southampton Princess 


Elbow Beach April 7-13 
Hamilton Princess April 14-20 


Rates are pp. dib. occ. plus tax 
— Advance Booking Suggested — 


7 days-6 nights 


PARIS 
April 19-26 


IRELAND 
April 12-29 or April 18-25 


nice spacious apt Call evenings 
648-5136. 


AUBURN - Gay professional male 
looking for same to share home 
secluded in country near major 
hghwys. Ref call Butch 832-3842. 


Looking For 
ARoommate? 
Matching Room-Mates, Inc. 
1st & most experienced room- 
mate service. 
14 years serving the public. 


251 Harvard St. 
Brookline (Coolidge Corner) 


BACK BAY- Apr or May occup 
spcs 6 rm apt Comm Ave nr pub 
gdn prof GWM 36 sks rmmt WM 
pref $325 no pets references re- 
quired Box 5284. 


Includesr/t jet, U.S. departure tax, transfers, 6 nights 
accommodations with a private bath, continental 
breakfast daily, 2-day city tour and much more! 


Visiting Shannon, Galway, Dublin, Wexford, Killarney, 
Limerick. Includes r/t jet, 6 nights hotel, full Irish 

breakfast daily, experienced driver/guide, luxury coach 
for sightseeing, tips, taxes and much more! 


(SPRINGTIME IN EUROPE 


$599 


pp. dbl. or triple occ. 


$729 


pp. dbl. or triple occ. 


laundry, Res. area, near T. Plenty 
of parking. Must be resp. non- 
smoker. No drugs, no pets. 
$180/mo incl ht utilphone. for 4/1. 
Call any day 6-11 pm. 524-3690. 
Keep trying 


BOS- WM in boonies nds cheap 
room ovrnght few times a mo for 
own work & cult S Bi or G ok no 
sex Box 412 Westport Mass. 


BOSTON Downtown 2 GWM both 
32 seek nonsmoking, sociable, 
stable prof. or grad. student into 
Opera & Classical music to share 
Irg, quiet house near T. $170 in- 
cludes all. Call days 569-6642. 


BOSTON M/F roommate needed: 
beautiful Bay Village apt 3brm, 
3baths, fireplaces $250-inc ult. 
Great area & location 482-6946 


keep trying. 


BOSTON- Marlborough St. F prof 
pref lovely Back Bay apt F 
fireplace bay window eve after 7 
Call 247-4992. 


BOSTON - F/M roomate wanted 
to acquire & share 2 bdrm apt. 
Rent about $250 each. Call Paula 
536-5274. 


BACK BAY-M or F wanted for 
lovely 2bdrm duplex. Private 
sundeck. Central location, 
$240/mo avail immed call 247- 
2595 between 6:30 & 8 pm wkdys 
keep trying. 


BACBAY MARLBORO ST 
Hi ceilings firepic gd lite 1M & 3F 
sk 1M for Ig apt share food & 
chores 3/1 thru 8/31 $173 good 
people 267-7434. 


BACK BAY GWM wants to locate- 
share apt with prof. M/F call 482- 
9515. Also call if you have an 
available room. 


BACK BAY - roomate wanted to 
share 5 bdr apt, spacious, quiet, 
pref wkg person or grad stu, non- 
smoker. Avail now. 536-2908. 


BACK BAY- Male/Female wanted 
for beaut apt central location walk 
to T must be seen to be ap- 
preciated avail immed 266-8713. 


BEACON HILL- GWM sks rmt M 
or F, avail now, own bdrm in 5 rm 
apt, nice place $200/mo ht & htw 
incl 367-0623 keep trying. 


BEACON HILL- need 1 F room- 
mate for 2 br apt $150 ht inc 2 cats 
call Helen 367-6685. 


BRIGHTON CENTER area. Room 
in a spacious 3-bdrm fiat near 
MBTA. Parking, $120 per month 
plus util 783-4161 


BRIGHTON-Female 20-25 to 
share apt. Own bedroom. $200 
per o including heat & hot water 
Near T. 254-9286. 


BRIGHTON- Roommate wanted 
for large clean 3 bedroom apt Call 
DEnnis at 782-5988. 


BRIGHTON-. friendly, . indepen- 
deni, no-smoke F 20s seeks same 
for room in 2 br apt. Secure mod, 
w & d, furn. Avail 4/1 for 3-5 mos. 
$160 inc heat pkg. Eves 254-5630. 


BRIGHTON-BROOKLINE F stu- 
dent looking for same to share 
furn 2 bdrm apt cheap. 
Accessable t— o T av now 277- 
1918 between 3 & 9 pm. 


BRIGHTON-BROOKLINE Line, 
Female roomate needed to share 
2 bedroom apt. $137.50 per mo 
including heat & hot water. Fur- 
nished except for bedroom. Call 
738-0180. Within walking distance 
to 3 trolley lines. 


BRIGHTON-M to share modern 3 
bdrm 1 1/2 bath. d/d, w/d, park- 
ing , heat included 782-7067. 


$569 $605 OMAS 


Weekly departures through $4 T Q. 


June 
Call for information 


Includes jet, hotel, trans., tips & much more. 


TRI-CITY TOUR 

San Francisco/Honolulu/Las Vegas 
13 days-12 nights 

March 16 & April 18 

All inclusive rates effective as of Feb. 1 


AFFORDABLE HAWAII 
Sat. Dept. & Mon. Return 


RA jet, 9 nights in Honolulu, transfers, taxes and more! 
R/t jet, 6 nights in Honolulu, 3 nights in Maui, tranfers, taxes and more! 


$649 


plus tax 


$849-$969 
$659 pp. dbl. occ. 


BROOKLINE- M sks prof M/F S/G 
25+ to share renov 2 bdr condo 
on cul de sac on 3 T Ins quiet neat 
$225+ % tel + elec 738-0656. 


BRKLINE-BRI. Line large 2 bdrm 
apt in old hs. eat in Ktchn, 
separate entrance, off Rvrside T 
Nds Dvipmnt $350 htd 738-1472 B 
48 pm. 


BROOKLINE-Wanted a female 
roommate to share a large 3 bdrm 
apt in Brookline-near T. Rent 
$150 call 232-8232. 


BROOKLINE - Prof F wanted to 
shr lux 2 bdrm apt, sep bath, nr 
trans, extras. $285 htd, April 1. 
277-1812. 


BROOKLINE - The Brook House, 
F roomate wanted to share luxury 
2 bdrm, 2 bath apt with pool, ten- 
nis, laundry, etc with professional 
F 26. $315/month. Call evenings 
after 7:30 or weekends. 277-7870. 


CONCORD - live near woods not 
alleys. Share our quiet split-level 
home complete with fpi, ww, etc. 
Lg 12 x 15 bdrm with priv 1/2 
bath. Have 2F, 1 dog, 2 cats. 
Turtles, goldfish, & stable rmmt 
welcome. $200 to $220 + util. 
Avail immed. Call eves 369-3498. 


DORCHESTER - Bik seeks non- 
smkng responsible roommate call 
Don 825-6700 leave name and no 
$90+ % util. 


DOR. Prof. Bik seek nonsmkng 
per share rent & utilities call Don 
367-9000 leave name & no. 


DURHAM, NH AREA 
GWM 25 exec seeks GM, neat, 
nonsmkr to share semi-furn 2 
bdrm apt in Durham, Exeter area. 
Send name & phone to Box 5185. 


HULL-Roommat wanted M/F 3 
room apt no bus line. Non smoker 
mature $92.50 + gas. Call John 
Bet 5-6 pm 749-5537 


BROOKLINE-Roommate 25-35 to 
share large condominium with 2 
others. $235 includes heat. 277- 


BROOKLINE- F non-smoker 23+ 
to share apt with 2 F. 3 bdrm, Ir, 
den, 2 working frpl. Near 2T lines. 
$181 incl heat. Call Pat 725-6932 
days, 738-0859 eve. 


BROOKLINE. F 33 sks roomate to 
share large apt on T. Pet OK pref 
non-smoker. $162 + utils. Call 
eves. 232-0430 


WATERTOWN 
CAMBRIDGE LINE 


Extremely cheap, $85 
utilities/month 
and very accessible to 
Harvard Square. We’re 
seeking a M or F grad. 
student or working 
individual to live with 
cartographer, folk 
dancer and Phoenix 
employee. Call eves 
926- 6663. 


CAMBRIDGE-F seeks F or M for 
duplex apt, Upland Rd. area. 
Small bdrm. No pets, all else 
negotiable. $135. 492-0285. 


JAMAICA PLAIN single mother 
with girl age 3 sks woman to share 
hse near Forest Hills; low rent for 
child care no smoke;nat foods 
524-0822. 


JAMAICA PLAIN-1M/1F looking 


‘for 1 to sahre large Victorian apt 


near pond & trolley. $120 includ 
heat & H20. Av March 524-1712. 
Kp trying 


JAMAICA PLAIN- artist, long time 
meditator, looking for artist or 
writer to share bdrm apt & 
kitchen in safe clean Victorian 
house. Want to develop warm 
supportive atmos $90 inclusive no 
cig 524-6892. 


JAMAICA PLAIN rmmt for sunny 
apt near T, no cats prefer non- 
smkr $90/mo + share utl. Call 
John 522-3599 or 969-5936 


LYNN - M/F sh w educ gent usin 
2bdrm apt 25% time or less. 2! 
min bus to Boston. $150 inc tel, 
util, sm pets/cigs ok. 581-3467. 


LYNN BEACH area-GWM age 29 
seeks same to share 2 bedroom 
apt. Must be responsible working 
person, to age 30. $120 a month, 
includes heat. 581-2796 after 7 
p.m. 


F Nonsmk to share spacious New- 
ton Cor. apt with 2F nr T. dw&wd. 
117+ utils 926-8792 before 8 p.m. 


NEWTON-BiIWM, 22-35, wntd to 
share Ig modern apt with many 


extras. Serious inquiries only. For 
details call 964-3342 after 7PM. 


WEST NEWTON- rmmt M or F 
prof or grad stud wtd for sunny rm 
in 3 bdrm 1st fir apt, yard, drvwy, 
in res ngbrhd 1.5 mi from T, 2 mi 
to BC law, $136 + util. Sorry no 
oor Steve or Dennis after 
6:30pm 969-4860. 


W. NEWTON-2Fs, 3Ms wish to 
share home with M or F. 2 rms, 
$145, $165. Pleasant surroun- 
dings. All util inc in price. On Bus 
— 965-4557 after 3 or 232- 


Frndly, consid, respons F sks F 
26/ to share sunny Newton hse, 
yd. Nr T, stores. Nosmok pref 
$220/mo avail 4/1. Denise 965- 
9815. Can call late. 


NEEDHAM: 4th person to share 
large single house. $125 utilities. 
Available 4/1. Call 444-5872 


nights 

NEW BEDFORD 
M 40 sks share 2 bdrm lux apt on 
rte 140 $120. Call 1-998-3686 
Mon Wed eve 8:30-9:30 


REVERE-Brick ranch house by 
the water with fireplace, spacious 
private yard, set in a quiet 
neighborhood. Professional Male 
26 seeks professional Male or 
Female to share same. Available 
4/1. $175 + % utilities. No pets. 
After 6 pm. 284-3320 


RAYNHAM 
GWM wanted to share Ig 2br lux 
apt $142.50 per mo + % util sec 
dep req call after 6pm 823-9336. 


SALEM-BEVERLY line- slim WM 
50 sks F 18+ on a cozy 2 rm apt 
$20 wk pays all must help cook 
clean be easy going as | no ties 
stay by wk or etc call anyt-im ime 
best after 5 pm Mike 745-2906. 


SALEM-Harbor View. Amiable 
person 23+. Likes nat. foods, 
some sharing. 5 rms. near trans. 
$90+ Louise 745-8191, 744-0067 


SALEM COMMON-1 F prof. wtd 
to share 4 rm apt in Fed. ped. 
house. Good locat, frpl, htd, 
$212/mo. 744-9149 after 7 pm. 


SOMERVILLE-W F or cpl to share 
Ig cl trm apt with pro M 34 Option 
to be sole tenant May 1. Smokers 
cat OK $115 + 623-7019 


SOMERVILLE 1M roommate to 
share apt with two others in 3 
bedrooms $108+security utilities 
not included Call 328-9696 avail 
now. 


SOUTH SHORE- GWF wntd to 
share Irg 3 rm apt 35 min frm Bos 
wth GWM who works 6 nites 
strictly platonic friendly 
relationship. Write Bx 1911 
Brockton 02403. 


SOUTHERN NH-GWM prof sks 
rmmt to share 2 BR townhouse. 
Rent negotiable-compatability im- 
portant. Call 603-883-5250 


WAKEFIELD - rent $170/mo with 
utilities, extremely easy access to 
B&M. Mature, responsible person 
only. 245-7710. 


WALTHAM-Female prefer stu- 
dent 18-22 luxury condo $145/mo 
immediate occupancy. 899-4025 
or 663-6314 after 4. 


WALTHAM- F rmmt wanted to 
share 2 bdrm apt with prof M rent 
free in exchange for light 
housekeeping. 894-6387 
evenings. 


WALTHAM- F 30 wants F rmmt to 
share 2 bdrm townhouse at Wind- 
sor Village. $265-270/mo 254- 
9892 Gail. 


WALTHAM-walking distance to 
Raytheon, 2 furnished rooms, 
$150 & $125, incl telephone, color 
TV, modern and very nice, Blacks 
or students preferred. Call 893- 
4140 any time. 


WATERTOWN- 2 Feminists sk 3rd 
to share sunny spacious apt we're 
veg nonsmkrs prkg nr T $92+/mo 
avail immed 924-8411 


WATERTOWN/BELMONT 
Hsmate to share Irge house w 3 
others. Frpice, washer, dryer, 
parking. No smoke or pets. $250. 
923-1914. 


WEYMOUTH area-GWM 30 seeks 
apt to share with same or sublet. 
Mid June thru mid Sept. Call Mark 
487-3609 eves. 


NORTH WOBURN 
1 or couple roommates for 3 
bedroom apt rent & utils non- 
— preferred. Call 933- 
7878 


Looking for a roomate GWM or 
str. Responsible 27-37 to share 
house nr. Wollaston Beach, Quin- 
cy. $175. 471-6339 


Responsible F wanted with 2 other 
Fs. 3br, spacious, near resevoir. 
$200 a mon. includes heat, 
August rent free. 232-6561. 

AdY exec M 39 exc cook smkr 
non-drinker sks ige rm in hse or 
apt nr T; for weeknights occ 
wknds Box 5282. 


bdr apt in hse nr pond & T on 
resid street. Avail. immed. $140 + 
util. Call 522-3579. 


GWM seeks sober GWM 18-25 to 
share house in suburbs. $50 rent 
plus % utilities. Close to trans. 
Call 933-7094. 


JAMAICA PLAN 


3M, 1W sk 1W to live in 
large sunny house w/fire- 
place near pond.and T. 
$119./mo & util. Call After six 
pm 524-1986 


2 Center Plaza Great Road Weainut Street 392 Paradise fond Boylston Steet Granite Street 
Gov Center Newtonville Center Square. Harvard Quincy Center. 
BOSTON BURLINGTON MALL ACTON NEWTONVILLE SWAMPSCOTT CAMBRIDGE UINGY 
734-6484 | = 
- 2F. 26, sk same to shre lovely 3 


ROOMS TO RENT 


ALLSTON. Rom available in first 
floor apartment. Large kitchen 
and livingroom, 15 minutes from 
B.U. 5 min frim T. Must be a clean 
responsable person. $150 a 
month. Call 787-0438 


BOSTON (Jam. PI.)- Indep & quiet 
by 300 acre Arboretum & pond for 
quiet considerate studious non- 
smoker. Lg rm in hse. Prefer in- 
trovert. Shr neat kit&B. Nite guest 
A transp. $158. No pets. 522- 


Charming environment, all con- 
veniences, including laundry, 
working single adult or students 
aa per week. 925-2089, 925- 


Mature Responsible GWM room 


for rent in private apt. WW carpet 
double bed close to trans & shop- 
ping. 10 min to Boston. Call Ed at 
628-0537 5 to 9 pm. Please no 
cranks. Rent $45 pw. 


Attractive spacious room quiet 
and secure bidg near MBTA, 
beach, restaurants. Furn or un- 
furn $40 up. All utilities. 289-0416. 


SEASONAL RENTALS 


CAPE LODGE/TENNIS 
Mature Falmouth male singles 
group (12) needs members. 6 
bdrm oceanfront, unique focat. 
pier. Want sociable, straight, cig 
grd over 30. Free reserved tennis, 
lo cost: Apli-Oct. $400 235-4917 


STUDIOS 


Newly renovated prime loft 1200 
sq ft 14 ft ceiling oak floor freight 
el $350 month + fixture fee inc 
heat 426-0310. 


ART STUDIO TO SHARE 
Non-live in, day work space, only 
$50 /mo, bidg w other artists 492- 
6418 or write Barry Feiler 69 
Harvey St Cambridge 02140. 


SUBLETS 


ALLSTON-Lge apt 1 or 2 bdrm nr 
Hrvd. St. $265 mo. incl ht & Ww 
carpet. Furn avail. 734-6922 days 
or eves. 


cond. Cin, well mngd bidg. $260. 
Sub for 4/1 Option to lease. 7/1. 
262-1542 


BACK BAY-Room for rent on apt 
on Marlborough St. Available 
now. $150. Call Stu 266-7797 or 
Frank 743-1958. 


Sublet 4/1 cin Bk. Bay stu., sec. 
elev bidg., tile bath, sep kit., 
laund., nr BU., T, hosp. $275 ht. & 
hw. 357-3142 days. 262-7335 
eves 


BEACON HILL 
Apartment for rent May-Sept 2 
bdrm with full kitchen $400/mo 
723-3552. 


BEACON HILL 
Charming, sunny, furn. 3 rm April- 
June $475/mo after March 16th 
call eve. 227-3094. 


BOSTON-Nr Faneuil Hall— Mod 2 
br avail May-Sept. Furn, WW, 
sundeck near T and shopping. 
$300. Call 523-4295 eves after 6 


BRIGHTON-Subiet very nice 
Cleviand Circle studio 6/1-9/15 or 
fraction there of with option to 
lease. 1 block from T, quiet, well 
kept building $255 including heat. 
Call Dave 783-1376 


BRIGHTON-apt for rent one or 
two bed, eat-in kit mod bath, on 7- 
tine near iaund $275 inc 
everything see to app 731-3240 
bef 3PM. 


5/30-8/31 BRIGHTON - Cieveland 
Cir, 1 br nr FT. vy safe quiet, 
balcony, w/w, panel’d, cin, wshr in 
bidg, $240 poss option. 782-8341 
4-9pm. 


BRIGHTON 2 bdrm apt sunny. 
Nice area, in 2 family. $285/ mo + 
util. 332-4587 


COMM. AVE SUBLET 
BRIGHTON- looking to sublet 1 
bedroom of a 4 bedroom apart- 
ment for now through the 
summer. $140 ht-hw elec near 
bus & T. Call 566-6412 anytime 


BROOKLINE - The Brook House, 
2 bdrm, 2 bath, iux apt with pooi, 
tennis, laundry, etc. $630. Cali 
evenings after 7:30 or weekends. 
277-7870. 


BROOKLINE VILLAGE- from 
March through Sept, near T, park- 
ing in rear, share with 2 women, 
prefer non-smoking working 
females. Call 739-2818. 


SUMMER RENTAL WTD 
CAMBRIDGE - teacher with 
teenage son wants to rent a fur- 
nished apt for July & Aug or will 
swap for her apt in Germany. 
Write to Marcia, PO Box 1, Lex- 
ington, MA 02173. 


Sublet 4/1 Irg 1 bdrm apt ww dish 
washer, tile bath, modern kitchen, 
ig closets. Nr Harvard $330 ht & 
hw. 354-3576. 


BULLETINS 


PERSONALIZED 
SCRIMSHAW @& 
PENDANT 


( 


Send and 

picture silver 
rodium. 
Chain included.ff- 


Actual Size 


$18.95 


+ S150 


Jolly Whaler 
P.O. Box 692 
(allow 3 wks delivery) 


TRADITIONAL 
ACUPUNCTURE 
WHAT CAN IT DO FOR YOU? 
For this free booklet or for more 
information cali Dolores Heeb. 

354-5130 


Here’s a new twist, send a danc- 
cing telegram for a thank you, 
birthday, anniversary or holiday 
surprise- Boston Oriental 
Daancers 361-8172 Bellygrams © 
for all occasions. 


THE 
GUARANTEED 
CLASSIFIED 
It runs til 
it works. 
Call 267-1234 


BEWARE OF IMITATORS 
Lester's TV has been buying 
& selling used TVs & Stereos 
for almost 30 years. We stand 
behind every set & repair that 
leaves the shop. Fair prices - 
free pickup & delivery. Honest 
repair work our specialty. 
Lester’s TV @ 523-2187 

15 Revere St., Beacon Hill 


Secret of MindPower. 776-7976. 


Tall fem-imp will help mn with 
cross-dressing etc. After 5 PM 
wkdays all dy wknds Mikki 742— 
4293. 


TRANSVESTITES 
Social club near Bstn. Frndshp 
only. Pvt house. Nice people, 
peace of mind. Females welcome 
Tiffany Club. 617-891-8022. 


Attn: TV's! Lady selling nylon mini 
maid's outfit, incl: hat, satin cor- 
set, lingerie, hi-heels, boots, wig, 
etc. 662-4432 4-7pm. 


PORNO CAKES 
AND SPECIAL CAKES for all 
occasions — sports, hob- 
bies, cartoons, logos. you 
| Name it. Call the world’s most 
imaginative bakers — 

RO 


N 
1-366-5753 


KAT LITTER KING 
CANNED CAT & DOG 
FOOD CAT CHOW, DOG 
CHOW, & CAT LITTER 


CALL 924-4800 


SKIERS 


MONEY 
Brand New Skis with 
bindings included. 
Great Bargain up to 
50% off. 

Call 536-5390 
ex 512, Steve or 
Dick 


THE BOSTON @ 


Phoenix 


Classifieds 
are having a 


PARTY 
department 
Caterers - 
Dee-Jays - 
Supply Stores - 
Liquor Outlets - 
Hall Renters - 
Magicians - 
Performing Groups - 


etc. 
Place your Party advertising at 
festive rates 


267-1234 


BRING A BIKINI 

& YOUR MATE!! 
Fun-nFrolic Spg wkends (10) in 
NHs Wh Mts. Lodging, dining, 
Dance-Pool-PJ party, saunas, fun 
for $85.50 pp. do.! Holiday, POB 
773, Concord N.H. 03301 


WANTED 


Rehearsal/storage space for 
responsible musician in Lynn 
area. Will pay $. Attic, basement 
OK. 595-3486 


Sextant wanted, in condition 
Suitable for use in Celestial 
Navigation course. 277-2725 or 
934-2136. 


BUYING BUYING 


Older basebali cards & sports 
items- highest prices paid- turn j 


that shoebox full in the attic into 
cash 232-7575. 


Individual wishes to purchase 
loom. 4 or 8 harness. 36" or wider. f 


Call Cecil at 267-5256. 
DIAMOND WANTED 


PRIVATE PARTY wishes to | 


purchase 1 to 5 CT Diamond. Cali 
542-4341 between 1-8 pm daily. 


CELEBRATE THE U.S.A. HOCKEY TEAM 
VICTORY WITH A T-SHIRT! 


USA 4 USA4 
USSR3 FIN 


All American Enterprises 
161 Harvard Ave. 
Boston, Ma 02134 

(617) 783-4100 

Custom screenprinting for 


all businesses & occasions. 
We print baseball & softball 


shirts too! 


Wholesale enquiries 


welcome. 


Softball league inquiries 


also welcome. 


PRIVATE 
MAILBOXES 


FOR RENT 
Your Own Locked Mailbox 
r400 Comm. Ave. 247-9141 
Confidential & Secure 


Ask About 
Telephone Answering 


THE BOSTON @& 
Classifieds 
are having a 


PARTY 
department 
Caterers 
Dee-Jays 
Supply Stores - 
Liquor Outlets - 

Hall Renters - 
Magicians 
Performing Groups - 
etc 
Piace your holiday advertising at 
special rates with Rick at . 


267-1234 


SEEKING GIRLS TO FIGHT OR WRESTLE 
private film collector seeks to film fights 0° 
wrestling matches. either real or gaps acted 
out by girls. will pay $100 to $ 200+ per gir! per 
match. nothing difficult preter girls with large 
breasts. muscular legs. Of both: send tel. no. or 
10: Carn DLO BB 310 Frankins 
Boston Mass 


CROSS DRESSERS 
Dress up in soft sheer feminine 
fashions. Wigs and make up in- 
cluded. For an appointment call 
days 245-9737, evenings 438- 
7350 


PRIVATE 
MAILBOXES 


D.L.D., 310 Franklin St., Bos- 
ton's original mail drop, es- 
tablished 1972, can meet your 
needs. Call 423-3543 to rent a 
priviate mailbox immed- 
iately. 5 minute walk from 
Faneuil Hall/Quincy Market. - 


Name 
Address 


City 


161 Harvard Ave. 


Boston, Ma 02134 783-4100 


— Silkscreened on quality polyester/cotton 
shirts 
— White shirts with various trim & ink colors 


Also available: ‘Craig, greatest goaltender in 
-the world’ & ‘Mike Eruzione.’ 


Shirts $6.° includes postage & handling 


Make checks payable to: 


Send to: All American Enterprises 


State 


Please indicate number in each size: 


Zip 


Sm (34-36) | Med (38-40) 


Lg (42-44) | XL (46-48) 


WE WIN 
SHIRT: 


CRAIG: 


ERUZIONE: 


$6.°° includes postage & handling 
Get all 3 for 16.%° or: 


visa & mastercharge accepted by phone: 


AMATEUR 
TALENT 
ALL 
KINDS 


Send us a video- 
tape of your act (no 
x-rateds). 


if used in our pro- 
motion or copied, 
we will contact you 
first. 


Fill out the blank 
form below and en- 
close with your 
video-tape. 


Post mark before 
March 20th, 1980 & 
mail to: 

C.V. Productins 
65 East India Row 
Apt. 35D Boston 
02110 


TAPES WILL NOT 
BE RETURNED 


Name 
ity — Zip 
Phone 


26 


New faces for TV commercials & 
fashion advertising. Call (212) 
757-8173 from 12 to 4pm only. 


THE 
GUARANTEED 
CLASSIFIED 


It runs til 
it works 


Call 267-1234 


OCCULT 


Secret of MindPower. 776-7976. 


"PSYCHICS, SEERS & 
OURSELVES VIEW 
the 1980s”. Workshop March 14 
7-10 pm, 15 & 16 9:30-4. Boston 
College $5 Fri, $65 for weekend. 
Call 963-1243 or 522-2279 


he astrological predictions, charts 
and progressions. Zohar 524- 
7726. 


LOST & FOUND 


Qantas lost travel documents 
between South Station & Cam- 
bridge Common march 4th. 
Reward. 465-5917. 


SKIING 

SAVE $50 

SKI WEEKENDS 


SUGARBUSH 
VERMONT 


PACKAGE INCLUDES: 
eRoundtrip trans. 
nights lodg. 
Meals 
days lift tic. 
e2 days ski rentals 
Shuttle io and from mt. 
eTaxes & gratuities 
For more info call: 


ENTERPRISES 
268-4448 


Fan Club Special 12 for 65. p.pd. fj 
amount enclosed $_____ 


(617) 783-41001 


PETS 


Beautiful AKC Golden Retriever 
available for stud. 723-2216 after 
6:00 956-5483 weekdays 


FREE CAT 

Must give away affectionate 
female calico cat to good home. 
Grandfather allergic to cat, can't 
visit grandchildren. Cat spayed & 
deciawed. Indoor cat only. 868- 
4236 4pm-9pm. 

Two mixed shepherd puppies for 
good nome. $25 each. Call 288- 
0274 anytime 


My cat needs home- temp (1 yr) 
or permanent quiet beautifui 
affectionate spayed F call Jill 277- 
1756 keep trying. 


Afgan hound pups 6 wks old, 
beautiful markings, many colors- 
blacks, tans, also rare silvers. 1- 
617-534-0373. 


MAXINE KLEIN 
Renowned acting teacher to offer 
classes in acting. Beginning in 
late March. Cail 232-2666. 


Morning, afternoon, evening ac- ; 
ting classes at the Lyric Stage, 54 f 


Charles St, Boston. Beginning, in- 
termediate classes for adults and 
young people of all ages. 742- 
1790 for info. 


ACTING CLASS 


Boston Shakespere Company is | 
now auditioning for it’s 12 week | 


Spring acting class. Limited 
enroliment. For information cail 
267-5600 


Actors Workshop - Est. 1956 day; 
evening classes, all levels forming 
- Info-656 Beacon St 266-6840 


COMEDY CONNECTION 
SCHOOL OF COMEDY 


Interested 
begin. in late March in stand-up 


comedy, improv, and other areas 


of comedy. For informational 
brochure call 426-6735 


Rima’s Theatre Improvisation 
Workshop. Mondays at 8. Class 
number limited, register now. 


Starting March 17. Call 661-4930 , 


Voice Workshop: Actor's speech } 


class. Approaching text, cold 
reading, work through vocal 


barriers. Allan Kennedy, 661- § 


KY Barbizon’'s 
acting pro- 
y gram you per- 
form stage tech- 
niques from the 
start. Call now for 
complete information. 


617-266-6980 


THE BARBIZON SCHOOL 
480 Boyiston St. Boston. Mass 02116 
Lic’d by Comm of Mass. Dept of Ed 


0861 ‘LL HOUWW NOILOSS ‘XINZOHd NOLSO@ 


in comedy? Course 


ARTS & CRAFTS 


STAINED GLASS CLASS 
Where other stained glass 
teachers enroll as students 
Beginning & advanced levels 
Begin mid-March. Old Schwamb 
Mill, Arlington 643-0554. 


TRAVEL 


Las Veg. Vac. All expen. pd. Value 
$1000, co. $50 875-3219, 369- 
0917, 492-1398 24 hrs 


DIRECT TIRE 
HAUL-A-DAY SALE 


March 15 
See Ad in this Section 
126 Galen St. 
Watertown 


ISRAEL 


Low Cost 
Flights 


Israel Travel Group 
Center for Student Travel, Inc. 
1140 Broadway, N.Y.C. 


TOLL FREE 
800-223-7676 


PRINTMAKING 
Etching, stone litho, monoprinting 
classes begin April 8. Call Ex- 
perimental Etching Studio 29 
Stanhope, Boston. 262-4612. 


DANCE 


The Joy of Movement Center: 
492-4680 


FOLK DANCING 
‘ROUND BOSTON 
CLASSES, WORKSHOPS, 
RECORDS. For information call: 
“The Taylors”. 862-7144. 62 

Fottler Ave. Lexington 


DANCE 


INSTITUTE OF 
CONTEMPORARY 
DANCE 


Ten Week Spring session 
starts March 24. 

ICD offers classes in: 
modern, ballet, ballet for 
men, pointe, jazz, modern 
jazz, Afro Cuban jazz, jazz 
tap, Tai’ Chi, movement cor- 
rectives, disco and jizz. 


Dial 1.C. Dance 
423-2623 


. | 
r4) 
on piece i 
| 
F 
It teats good, 
smoking, anxiety, depression, 1 
..new habits, new directions i 
WEWIN! | | 
| 
LAKE PLACID 
BACK BAY-Nr N.U. Lg 1 bdr gr 
< 
= = 
A 
| 
1 
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24 


THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


liberation fronts 


Bolivia 
Honduras & Haiti, Ibiza & Mexica, 


REGISTRATION sstill open for 
contemporary dance classes with 
Mimi Kagan. intermediate 
technique & composition. Three 
mornings weekly. Call 536-4162. 


A GOOD PLACE 
to start dancing-exercising. 
Dancers exercises for non- 
dancers. Complimentary trial 
class. 426-8889 SHELLEY'S 
STUDIO 


ETHNIC DANCE 
Arabic, East Indian. Somerville: 
492-7535 


Photography for dancers by A. 
Epstein. rofessional-creative 
— 367-9000 (ans serv) or 1-784- 


BARBARA’S DANCE 
STUDIO 
Social dancing, hustle, disco, 
dance exhibitons. 15 Linda Ln 


New. Call 969-2677. 
HEALTH 


Hypnosis for habits. 776-7976. 


Chinese Kung-Fu Wing Chun 
Style Studio_11 Gorham St Aliston 
Tel 734-1563 call 7pm to 9pm. 


ECKANKAR 
ECKANKAR, the great adventure. 
Free intro talk, Mar 11, 7:30 pm, 
Boylston audit, Boyiston Hall Har- 
vard Yard 489-3067. 


SEMINAR SERIES 
Lose Weight « Stay Thin 
Without Dieting 
244-2268 527-2959 


SELF HYPNOSIS 
Relaxation, self confidence, 
Weight control, hypnotherapy, 
smoking, behavior modification. 
Lic. psychol, aa for Rational 
Living 739-506: 


Self hypnosis instriction. Con- 
fidence workshop-March 8. 
Therapy Mar. 1, sex therapy. 
Institute for Rational Living. Lic. 
psychol. Call 739-5063 


STOP SMOKING! 
The power of one-on-one yet 
costing less than group. No 
withdrawal pain or trauma. A 
written guarantee: stop with- 
in ten weeks or receive back 


half the fee. 

A service of th nr 

ment Program. 234 
THE UN-COURT 

Indoor Tennis . 


Teaching & Practice 
»Center 


TENNIS-UP 
100 Mass. Ave. . 
at Newbury 


~ 247-3051 


‘SKIN PROBLEMS? 


lf you have . 


*Oily Skin 
*Acne 
*Scars 

Stretch marks 
¢Dry skin 
«Aging skin . 
eFlabbiness — - 
«Dehydration 


See us 


about face 


Boston, 
266-1808 


739 Boylstor; St * 


‘ 


_—e Arabic. Do it now. 876- 


BEGINNING GERMAN 
West Germany and East Ger- 
many, Freud and Marx, conversa- 
tion and travel, philosophy and 
German accent, German trains 
and Austria and Eastern Europe. 
Foreign Lan e at 
Cambridge Y . 876-3860 


& GREEK 
Greece & the United States, 
Phonetics & Greek islands, con- 
versation in Athens, rapping in 
Brookline pizza shops. Beginning 
and intermediate. Courses star- 
ting now. Language 
eee at Cambridge YMCA 
8 


MEDITATION 
GURDJIEFF-OUSPENSKY 
CENTER 
accepting members. 237-7548. 
Raja-Yoga Meditation 
The Natural Way to Realization 


Ram Chandra Mission 
No Fees 492-5094. 


PHOTOGRAPHY 


photography: Creative 
491-2476 


ARTISTS’ SERVICES 


Artist model, Kevin 266-4885. 


NEED$$$-EVER THINK 

OF MODELING!? 
Pretty face-nice body? Great $ for 
r ght persons-looking for foxy 
kinky sly elegant & shy types to 
model high fashion & nude-no 
pros wanted! Looking for 
refreshing new looks. If you have 
ever thought about it, lets talk 
now! Call Phil 277-4700. 


Amateur art-photographer nds 
non-pro femal, Wht. 20-45 yrs. to 
pose nude. 6, 1 ’% hr. sessions wt. 
unimportant. Nice skin nec. gd 
pay. No sex. Box 5326 


Amateur photog seeks attractive 

iris for semi nude & nude photos 
5 per hour call between 3 & 6 
pm phone 738-5368. 


Female models wanted nude 
or semi-nude buxom pre- 
ferred all considered. Send 
description phot phone no. 
Photo sessions $15-$50/hr 
for private collector, Suite 
CY73 400 Comm. Ave. 
Boston. 


Hypnosis for Sexual Problems, 
Weight, Concentration, Memory, 
Smoking, Confidence & More. 
Results guaranteed. 776-7976 


FREE MEETING 

Stop reacting to life and start 
shaping it the way you want. Tran- 
sitions: planning and controlling 
life changes is an action-oriented 
personal growth seminar design- 
ed to help you explore and then 
act upon changes in any part of 
your life. To learn more, plan to 
attend the free explanitory 
meeting at 7:45 pm, at the Holiday 
Inn of Newton, Route 128, Exit 53, 
on Wednesday, March 12. or call 
Transitions Institute In Watertown, 
617-926-0329 


GAY MEN’s WEEKEND 
Apr 18,19,20 led by exp therapists 
to incr awareness & commuOnica- 
bon Francis 661-2032 Kevin 354- 


SELF HYPNOSIS 
Relaxation, self confidence, 
weight control, hypnotherapy, 
smoking, behavior modification. 
Lic. psychol. Institute for Rational 
Living. 739-5063 


GAY MEN 
Life style therapy for anxiety and 
personal growth. Lic. psy- 
Institute for Rational 
Living 739-5063. 


| Call 9-1 Manday thru Friday 


GAY? CALL NOW 
ea intelligent, interesting peo- 
Quick-confidential- 
Steve (212) 232-5500 


DATA-MATE IS NO. 1 
Since 1966 DATA-MATE has in- 
troduced over 30,000 singles to 
each other. Our fee is $20 with a 
money back guarantee. Cali us 
anytime 547-0225 or write us at 
DATA-MATE Box 361 Dept BP 
Arlington MA 02174 


Relaxation 
Smoking 
© Weight 
Therapy 


© Cassettes 


SHIRLEY ALEO, M.A. 
277-2618 
1970 Beacon St., Brookline 


SEXUALITY © 


COUNSELING 
Sexual anxieties & 
dysfunctions. 

Men, Women, and Couples 
AASECT Certified Sex 

. Therapist 
Cali GREENHOUSE 492- 0050 


. Send us a video- -tape of your act (no x-rateds). 
If used in our promotion or copied, we will contact you 


first. 


Fill out the blank form below and enclose with your 


video tape. 
Post mark before March 20th, 1980 & mail to: 


-C.V. PRODUCTIONS 
65 East India Row. Ant. 35D. Boston 02110 


TAPES WILL NOT BE RETURNED | 


Name 


Street 


City 


Zip 


Phone 


MISCELLANEOUS 


Exp teacher will tutor math any 
subj Howard 254-5774 reas. 


S ERVICES 


| LANGUAGE 


ACADEMIC SEAVICES 


REGINNING ARABIC 
North Africe 6 the Middie 
Libya & Egypt, Arabic journals & 
Tangiers 


East . 


Casablanca. Algeria S Morocco: 


writing, breathing & conversation 
Foreign Language Progratr at 
Cambridge YMCA 876-3860. 


BEGINNING 6 PORTUGUESE 
Portugai & Brazil, Angola 
Mozambique, Gape Verde isiands 
& Brasiiian films, pronunciation & 
Portuguese newspapers, conver- 


sation with Portuguesé-speaking 
friends ana 


neighbors Foreiga 
Language Program at Cambriage 
YMCA 3E60. 

“SPANISH SPANISH 
America Spain, Cuba & 
Puerto Rico, Cniie & Argentina 
Cotumbia & Venezuela, Peru & 
Panama & Costa Rica. 


New York City & Boston, 
Guatemala & Jamaica Fiain. 


Foreign language Progra ai 
Cambridge ¥MCA. Beg int, 3 
Adv. Courses 876- 3860 


ITALIAN ITALIAN” 
Rome & Boston, Napoli & Genova 


E Milano, Palermo, Fellini & Ber- 
4 tolucci, 


ftalian newspapers & 
magazines & films, conversation & 
caffe espresso. Foreign Language 
Program at Cambridge YMCA. 


Beg. int. & adv. Courses. 876-876- 
3860. - 


SPANISH & FRENCH 

& ITALIAN & GREEK 
Foreign Language Program at 
Cambridge YMCA, Beg. int & Adv 


Athens, Lisbon, Betrut, Boston, 
Cairo, Berlin. Also Beginning Ger- 
man & Beginning Portuguese & 


Courses: Madrid, Paris, Rame, 


Mu ‘ype nm omy .ome u 
page or anvelooes & 
Cali 269-2374 betweer 
6pm 


RESEARCH PAPERS 


suite 560 
$1 E. ST 
NFW YORK NY ‘0017 


CALL: 
(212- 


Classifieds 
MAVING 
PARTY 
department 
Caterers - 
Dee-Jays - 
Supply Stores 
Liquo: Outlets 
Halt Renters - 
Magicians - 
Pertorming Groups - 


etc 
Piace your Party advertising as 
festive rater 


CALL 
267-1234 


fentone of our typewriters 
Pio ar 


ANSWERING 
SERVICES 


BUSINESS SERVICES 


CALL THE COPS 
C-O-P-¥ C-O-F (267 
9267) for 8x10 color xerox 
copy enlargements 9° 35mm 
slides when you wait 
pacn, COPY COP inc 8618, 
Bovistor St Bostor (oop ‘née 
Pru Nourse 
10-6 sai 
TYPING | 
term paper, etter atc 
st service. Low rates Ph Donne 
"27 2756 eve: 48-3090. 


“OLOR “COPIES 
4i Copy Cap, Boyistor St, 


POVLSTON SECRETARIAL 


SERVICES 

terms 
thesis. transenpbing 
etc. 


pagers 
freaports 

for 

2 

A do your typ. 

in 


ALi IBM SELECTRIC |, 


ve 


AisO, May i” 


247-2741 


GARCOCK DAY SCHCOL 
-Ong estabushea, round Ai 
activities an.-§ 30 pm Ages 2-6 
$35 pe: week Transportation. 
277-9832 


COUNSELING 


SEXUAL HEALTH CTR 


Specializes in the treatment of im.» 
potence & premature ejaculation | 


problems Call 266- 3444 

Want greater selt- -awareness, 
‘icher relationships, better com- 
munication? Joir 
Growth Group, exp. leader 
Gestalt Therapy. Individual 
counseling offered. Ins. accepted 
Dorothy 491- ‘6408 \ 


Sexual Health Counseling/Do you 


have a solution or are xy part of 


the problem? 426- 3677 


Lite guide w/western psych & Zen 
credent., private & group, results, 
Boston 232-8758. 


our Personal 


_» 355 
BOSTON. Boyiston Fridays 7:45-11:30 $3 
fo. iX don small group discussions 
| n 8:30-10 Mar 14 topic:Alligator 
.Classitieags {River 
PARTY WOMEN! MEN: 
department meet nee tirerds ioagay 
Caterers Immediate contacts rnailec COD-- 
Dee-Jays Cali 312-338-9300 or write Per.” 
Supply Stores - sona Frnenas <* 366 400 Com- 
Liquee Outliers Ave Bostor Mass 
all enters 
Magicians 
Pestorming @raups INDIVIDUAL CAREER 
etc CQUNBELING 
Place vour Party savertising « ier Son 
CALL 
267-1234 
‘ 4267-5008. Prong 
THE- “ { Peauo.: Assoc 
PROGRAM TURNING DEPRESSION” 
4eIPING Mais anc wonel tnd i AROUNT 
warmer personality & group Jearning ahgui ce 
change A: Service 


reduced tensions anxiety | 
sek image cenfidence ; 


better Beaco St Boston Starrs Maret 
Vou, & full two-hour session ‘~ $400 fee scale 
given at Me Charge Forinta 
\ 924 2242 
COUNSELING 
SERVICE 


PEQUOD 
COUNSELING 
"CENTER 


! 


COUPLE 
AND 


INDIVIDUAL, 
FAMIL® COUNSELING 
CAREER COUNSELING 


saciator 


“Artin ton St Church 355° 


“ 


greal€ Gostor, 


"CREATIONS” 
Join Ted and Carole's Creations. 
tga in personals and cal! 327- 


Why are single women 
like Jaye meeting men at 
The Couple Company? 
“After trips to numerous singles 
bars, | decided to visit The Couple 
Company... the men | have met 
- including a doctor, an attorney, 
and an artist — 

have been interesting, 

intelligent, and best 
of all... fun!” 


Prerecorded videotape 
interviews let you see, hear, 
and decide when someone is 

interesting or attractive to 


you. Call or write for your free 
copy of our sample Member 
Gee magazine. 


118 Newbury 8t., Boston 
247-3800 


HOME SERVICES 


CARPENTERS 


Home repair reno const 282-8320. 


ELECTRICIANS 


Lic electrician wants work. Rea. 
rates. Call Ed Tennaro 739— 2200 


PAINTERS 


Great Painter 354-6088 


Experienced painters avail. Free 
estimates, reas rates. Call Rod or 
Frank at 498-2506. 


MISCELLANEOUS 


J&J Contractors-Vinyl siding & 
aluminum gutters. ali interior 
work. 825-4812 or 569-6683 


ENERGY AUDIT 
Save $$$ locate and eliminate 
wasted energy consumptian. Ser- 
vice 282-2127 


Exp'd housecleaner available to 


‘work afternoon hrs. in Cam- 


bridge. Excellent reterences, $6- ’ 


$6.50/hr Call C Norton at 354- 
4432 eves. & early mornings. 


LEGAL SERVICES 


Uncontested’ divorces. : $150.00 
Gal AM. Mark Shaw 523- ‘8070 


"Divorce 6 generat oractice otk law 
Milan Grisk. Rosernary darvey 
Vallace’ Kellaqrew ‘Free thitia! 
Consullations 426-2275 


MOVERS 
RABBIT 


MOVERS 


opianc es 
Same Day Service 
Large or uch 
cicensea anc nsurac 


277-302) 
MIKES MOVING 
4ousehoid moving. Appliance - 
LIGHT MOVING 
~Mar with 1ck-up . Reascnable 
454-374 Atte: six 
nour specialty LOW 


rates fot local service tasi, reliable 


| Mecia deaith Golleciive sihice 970| 


Spaces ior mor ane womes, in- 


| ongoing | 


erapy groups ' 


Massachuselts Ave 


i Camirldge. MA 354-6259 


SINGLE? Meet sincere beautiful 
people-iike you. Lowesi fees. Cali 
Dateline- tree 800— 451- “3245 


The exclusive Montachusett Gay 
Allance .S now accepting 
applications for membership Call 
342-6 i717 874-2317 

MEET-A- MATE 
If you are alone but fee! you want 


— 


something more personal in «a: 


dating service call MEET-A- 
MATE. A people matching people 
service 482-0714 


Bgychotherapy crisis: as- 
sistance. consultatiog. 


individuals. ano couples. 


"initial interview is free and 
encouraged 
782-5753 


! 
} 


DATING 
“SINGLES! 


Meet that special person. soon 
Call today and you could be | 
he sameone really nice nex! 
week! For PREE brochure, 
207-4500 anytime 
DATIOUE ING. Boy | 
St.. Suite 312 Boston 02! 
“Since 1970-Large 


MARK Twe 


Couples Socials. See display: |r 
Personals 453- 414 


éxperts 864- 0844 


POOR PEOPL ES MOV ERS 
522- 


“TRANSIT. hsehulas 
heavey,, appliances. Deliveries 
Shori notice OK. 27?- 3021 : 


PRIME. “MOVERS- ‘work tor 


cheap money. 254-4164 . 


_ CATCH-22 Van+2 $16 /hr 


6019 
‘Exp man 6 pickup truck $10 hr 
Punctual’ Weatherproot 547-9365 


Man var: reasonable ‘dapen- 
dable 964-1890 


. Moving & Storage since 1970 | 
| Licensed & insured. Mass- 
“tercharge and Visa accepted 
recycled cartons ayall. 
| SAVE $$$. 661-0550 anytime 


keep ringing, 


| 


1s 
ae . | 
| 
| 
y 
' 
| TEUOR TALENT 
A I I KINDS 
J 
‘ 
» 
|. 4 
4 = 4 
g 
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ag 
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y 
BY 


ARISTOCRAT MOVERS 
exp. tg & small. 924- 


Mover Dwight 442-2895. 


Man with Van. Reasonable, 
dependable. 332-7022. 


Piano & Furniture 
MOVERS 


STORAGE & 
BUYERS 


LOW RATES 


24 
HOUR, 
SERVICE 
7 Days A Week 


LICENSED & INSURED 


OCCASION MOVERS-Household 
piano refrg Good work. 696-0187 


MOTION MOVERS-Exp, rel. 
Appliances, apts..We.move it all. 
277-0525 


~ SMART MOVE 
Reliabié, reasonable rates. Local 
& Long distance..Make yor next 
move a Smart Move. 969-0954 


Truck for hire, heading towards 
California. Will move for ex- 
penses. Call 649-9488 after 5 


UPERMEN MOVERS 


Professiéna! — Careful 
Economical — Large & Small Trucks 
Friendly Personal Service 
Pianos — Long Distance — Packing 
2 men — $22 per hour 


731-5719 
Poor Peoples! lovers 


expert moving & packin 
Heavy appliances DeliveFies. 


Same Dav Se rvae 
Pianos 


Low rales Lied ins 


522-0826 


MOVERS! 442-1376 


SHORT NOTICE MOVERS 
Reliable, experienced movers for 
locat and long dist. work. Master 
charge & Visa. 321-1017 


Mongoose Movers. Experienced 


_in the moving groove. 492-1241. 


LARGE TRUCK 


Cheerful Careful 
and Cheap 
Near or far 


Large or Small 


HARMONIUM 


MOVER 


24 HOUR SERVICE 


Homee Office® Pianos 
Free moving guide 


Liscensed ¢ Insured 


Express: N.Y., Phila., D.C. 


== 739-2200 & 


MOUNT AUBURN MOVING 


Apts., Households, Offices. 
* Careful, considerate packing 


and moving. 
¢ Fully Insured. 
° No travel charges for 
Cambridge. 
* Master Charge and Visa 
accepted. 
Call 24 hrs. 
876-9290 


PARTY 


Complete Party 
Packages 

for groups of all sizes 
hot/cold hors d'oeuvres 
cold cuts * hot dishes ¢ large 
portions * top grade meat « 
salads © desserts * beverages 
garnishes all paper 
products, utensils * even the 
ice! 

ORDER NOW! AVOID THE 
LAST-MINUTE RUSH! WE'VE 
GOT THE PERFECT PARTY 

FOR YOUR BUDGET. 
Kenmore Market Deli/ 
Pizza Pad 


In the heart of Kenmore Sq. 
Boston ‘Delivery Available 


536-0559 


THE TELEPHONES 
Music for the 80's. Original new 
wave pop from indiana. Cali Dave 
1-586-4337 or Jim 1-583-1460 


Danny McCarthy, Disc Jockey for 
all occasions. Complete system 
provided. 924-0125. 


Bands & DJs for hire Lowest rates 
Call Paul at 552-7135 or after 6: 
277-1062. 

Folksinger-comedian w_ unique 
well pdlished act (& 3 TV app) 
seeks bookings and manage- 
ment. Howie Newman 327-0121 
436-4600 


Wedding photography-prof quali- 
ty & low prices Sandy 782-7944 


THE BOSTON 


Phoenix 
Classifieds 


are having a 


PARTY 


department 


Caterers - 
Dee-Jays - 
Supply Stores - 
Liquor Outlets - 
Hall Renters - 
Magicians - 
Performing Groups - 
etc. 


Place your holiday advertising at 
special rates with Rick at 


267-1234 


DRIVE-AWAY-ALL 


USA 

Cars to all states (Cal., 
Ariz., Fla., Texas, etc.) 

® Leaving daily 

® All kinds of cars 

© Best allowance 

U.S. Driveaway 367-3333 


Car pool from Boston to Brockton 
254-8963. 


BICYCLES 


Rudge 3 speed. Recently repaired 
and in excellent condition. $85. 
Mike 254-6695 


1979 Peugeot 10 speed bike 25” 
silver hardly been used $185 or 
best offer. Newburyport 465- 


7290. 


Ride needed for commute fm 
Boston to Waltham off 128 M-F. 
Financial arngmts. W. Hurwitz 
895-4413 wkdays. 


College instructor needs ride to 
Worcester 2 days per wk. Share 
gas & drive. Harvard Sq area. 
354-5567. Joe 


MISCELLANEOUS 


INSTANT STORAGE 


SPACE 
Storage trailers, weekly and long 
term. Cali 288-3800 


CLOTHING 


ze 7 Frye boots, women's, worn 
twice, $70 when first bought. Call 
after 7pm 891-0716. 


Attn TV's. Genuine satin & lace 
French mini-maids outfit: Hat, 
garter, corset, lingerie, spikes, 
seamed hosiery etc. 662-4432 4-7 


THE 
GUARANTEED 
CLASSIFIED 
it runs til 
it works. 
Call 267-1234 


FUELS & FIREWOOD 


USED FURNITURE 
BOUGHT AND SOLD 
B&B FURNITURE CO, 364-2218. 


Dining room table 60” round oak 
pedestal base with 3 leaves & 
pads made by Baker asking $350. 


323-3844 after 4 pm. 


Waterbed fac guar finished inc 
everything fitted mat pad all new 
acces ‘Call in Arlington 648-3465 
Pam waveless mat $250. 


* OFFSET PRINTING 

* INSTANT PRINTING 
ITEK (while you wait) 

* AUTOMATIC COLLATING, 
FOLDING, CUTTING. etc. 

* BINDING (GBC, VELO) 

* MANUALS. PAMPHLETS, 
RESUMES, ENVELOPES. 
NEWSLETTERS. BRIEFS 


* COLOR COPIES (8 x 10) 


COMPUTER PRINTOUTS & 
OVERSIZED ORIGINALS 
* 9400, 9200 COPIES 
* COLOR COPIES 


OF 35mm SLIDES 
* LARGE BOND COPIES 
(14 x 25) 


your beat. 


* REDUCED COPIES OF 


AT 815 BOYLSTON ST. 


DIAL 267-9267 
“HEADQUARTERS” 


(OPPOSITE PRU) 


DIAL 367-2738 
“PRECINCT 2°AT 
13 CONGRESS ST. 

(NEAR STATE) 


FURNITURE 
Wholesale 


Warehouse 
Boston and Maine — dealers 
weicome, lowest prices, open 
7 days a week, 10-10. 
FURST BROTHERS 
WHOLESALE 
ANTIQUES 
21 Brookline Ave. 
Kenmore Square 
Boston 


267-4079 


ANTIQUE | 


SZ 


7 piece kitchen set- rosewood for- 
mica table w/ 6 bucket chairs, 
table & chairs have chrome 
pedestal bases $225. 2 Colonial 
end tables with wood bases & 
glass tops $ 50 for both. 2 lamps 
with wood & brass bases & linen 
shades brand new $100 for both. 
259-8388 evenings & weekends. 


WATERBED QUEEN 
Brand new never been used. 
system inclu garantee 

solid pine frm and prdistal heater 
lap seam mattress and fitted liner 
filler nozzle and ness hardware. 
a for Just $195! Canton 828- 

24. 


Bedroom suite, double bed, 2 
dressers, vanity, 2 night stands, 
round mirrors, bench chair, $700 
or B O. 603-472-8270 aft 6pm. 


38x50 walnut oval table, 4 Cane 
back chairs $200. Wainut server 
with marble inlaid $125 or B O. 
444-7862 after 5. was 


H?O 
WATERBEDS 
SEE US FIRST 
Waterbeds from 

199” 

Come in and enter 


our waterbed raffle. 
No purchase neces- 


sary. 


32 Copeland St., Quincy 
479-1266 
1500 Main St., So. Weymouth 
335-0021 


THE 
GUARANTEED 
CLASSIFIED 
it runs til 
it works. 
Call 267-1234 


ODDS & ENDS 


Sale wedding gifts, crystal, china, 


silver serving tray. Early Am. pine 
vg rm set. All exc cond 738-9036 
keep trying. 


( 


WE DELIVER 


5 PM-12 AM 
2+ miles from Kenmore Sq. 


CALL 536-0420 
GREAT FOR PARTIES 
For 2 or 200 
FREE PARKING 
For Patrons in Somerset Garage 
390 Comm. Ave., Boston 


GOOD VIBRATIONS 
“THE MUSIC CATERERS” 
Music for all occasions fea- 
turing Big Bands, Oldies, 
Rock & Disco and New Wave. 
Professional D.J. & Light 
Show. Quality sound at 
reasonable rates to meet your 

needs, big or small. 
Mike 436-4600 


RIDES 


COMMUTERS UNITE 
Looking for riders to share ex- 
penses commuting from Lowell to 
Stoughton leaving Lowell 7ish am, 
returning Lowell 6ish pm Route 3 
to 128 route, willing to make 
stops. Please call Paul home 452- 
6080 business 344-0467. 


DRIVE-A-CAR 
to Florida, Calif, etc. some gas 
allow. Good cars leaving daily. 
Must be 21 & licensed. Call 267- 
4836 


CARS AVAILABLE 
NOW: 262-4950 
Drive to Texas, Calif. and 
Midwest. No rental or mileage 
fees. Call NOW! AACON Auto, 230 

Boylston St. 86 offices U.S.A. 


DRIVE-A-CAR 
Calif., Fla., & all USA Highest gas 
allowance. Must be 21 & lic. Leave 
now. 262-9590. 


Young adult female seeks ride to 
or around the Chicago area leav- 
ing the end of March will split ex- 
penses Call 548-6908 traveling 
light & non cigarette smoker. 


ANTIQUES & 
FLEA MARKETS 


Rolltop desk dark mahogeny 
vineer short legs c-roll excellent 
condition $500. 2 green chairs 
$75. Michael 661- 82. 


CATALOGS 
ANTIQUES AND GIFTS 
$1.50 for shipping & handling. J. 
L. Patterson Ltd. 


Dept. 299 
118 Mass. Ave Boston Ma 02115. 


Contemporary posters & 
graphics. Warhole, Lindner, 
Lichtenstien, Linder, Kine, Katz, 
Hockney. 267-9095. Low prices, 
must sell. 


Plans for video descrambler to 
build yourself-add to your TV. 
$1500, 4-5 wks del. Video Kit, Box 
411, Raymond. N.H. 03077 ___- 


APPLIANCES 


Brand new, never been used, GE 
washer, (GE WW A8470V) retail- 
ing for $400. Will sell for $330. 
Must sell immed. Call 232-5847 


Electric range. Double oven. 42” 
wide. $75. Will deliver. 846-2908 


REFRIGERATORS 
75 & UP 


B&B REFRIGERATOR CO. 364- 
2218. 


Save energy! Gas burning vented 
heater 45 BTU/hr. Measures 
20x28x34 only 1 1/2 years old 
moving must sell $175 or bo. Call 
523-5364. after 6 pm. 


THE 
GUARANTEED 
CLASSIFIED 
It runs til 
it works. 
Call 267-1234 


SUPERCORD. One cord of Black 
Locust firewood. 34% more heat 
value than mixed hardwoods. 
$160. 524-3521 


FURNITURE 


UNCLAIMED RUGS 
Large selection of colors & sizes 
from our cleaning plant. 9x12’s & 
oversized rugs $10 up. Albany 
Carpet & Cleaning Co. Rugg 
Road, Allston Mon- 9-5 782- 
4200. 


Waterbed-brand new includes 
stained frame, ped & deck, fac- 
tory guar, lapseam matt, UL 
heater & liner, $189. 734-8546 


BRASS BED 
Simple, clean lines-very good 
condition, double size. $400. Tele. 
Manuel, 584-0126 9 amnoon. 


Bed matt Box sp Frame cost 400 
new. Sell $185, 1 yr old. 965-2985. 


FOAM RUBBER 
DISCOUNT CENTER 


Cushions, Mattresses. Boisters. 
Covers ready to go or made to 
order. Shredded foam. . 
Foam cut to size 


Alliston 


4-4819 


King size waterbed evérything in- 
cluded frame & heater $200 or 
best offer. 846-7506. 


Din rm set Victorian exc cond tbl 
w/glass top 3 Ifs 4 str & 1 arm high 
velvet chairs 1sm 1lg buffet 1 
glass china closet Dark wainut for 
Ig house $1500 or best offer Mr 
Handy 825-5009. 


Used furniture. Bill Conlin 776- 
9369, 196 Holland St. Somerville 


Round oak table & 4 chairs, nds 
refinishing & chairs nd recaning. 
Lrg walnut finished hatcc cover 
for use as table top. Ned or Susan 
266-4942 eves, 253-5768 or 253- 
2640 days. B.O. 


Good used refrigs and stoves 
Reconditioned, guaranteed, 
delivered 254-7711. 


Blue flowered couch, very good 
condition $75. Call after 6 pm 661- 
4874. 


Whirlpool washing machine- 
perfect for apartment, small & 
compact; 10 Ib. load, 3 cycle: 1 yr 
old; $175 or bo Stu 661-4648. 


Moving. Fr sale twin captain bed 
$60. 12x15 shag rug $60. Pole 
bookcase & shelves $40. Kitchen 
table $40. Lamp. Eve 4892901 


3 Rooms of 


Furniture *699 
COMPLETE, Reg. *950 
Nothing else to buy. Includes a 
gorgeous 7 piece 100 percent 
nylon Living Room. Handsome 8 
piece modern walnut bedroom and 

5 piece extension dinette set. 


EASY CREDIT TERMS 


Irwin’s Furniture 
274 Moody St., Waltham 
Opposite Grover Cronin's 


893-8575 


OPEN EVES ’TIL 9 P.M. 
SAT. ‘TIL 5:30 


Free Delivery - Free Storage 


King size waterbed, double mat- 
tress and box spring, rugs, mirror, 
wicker furniture, drop-well vanity. 
All like new. 232-1727 eves or 
weekends 542-6060 days. 


Used living rm furn, all in very 
good cond, sleep sofa $200 
recliner chair $200, table $50, 25” 
RCA color TV console $400, end 
table $25. 848-8774, nights & 
weekends. 


Teak dining room set, oval table 
w/ 2 leafs & 6 chairs $800 call 421- 
7601 till 4:30. 


Queen hide-a-bed sofa, coffee & 
end tables, lamps, oil painting, 
typewriter. Ed 332-6975 eves, 1- 
842-8921 ext 270 day. 


Patio chairs, Marimekko wall 
hanging, lamp, rug, directors 
chairs, old records, piano bench. 
Priced to sell. 262-0955 


Owner is moving. For sale, 1 
Berber deluxe rug from Scan- 
dinavian Design, off white & off 
beige. Excellent condition, less 
than 1 yr old, 4 x 6. Glass & mar- 
ble coffee table. 3966 square. 
Retails for $375, best offer. 296- 
7250, Victor. 


Antique Brass Bed, dbl., excellent 
condition; free delivery. $450. or 
b.o. 267-6410 x227, 367-1146. 


NEED FURNITURE AT 

AN OUTSTANDING PRICE? 
Tune in on this! Matching sofa & 2 
chairs- solid cedar coffee table & 
desk- 2 complimentary cloth 
prints- parsons leg loveseat- 19” 
Sanyo color tv- Call 639-0156 per- 
sistantly. 


17 foot MFG Tri Hull with 100 
horsepower Evinrude engine. 
Lady B trailer included. Good 
condition. $1200.00 328-5730 


Ortho practic delux full size mat- 
tress box spring like new $100 
9x11 shag fF gna condition $60 
prices neg 236-4786. 


Women's Frye boots, size 6 % B, 
never worn. Natural color, Side 
zipper. List $90 asking $55 or bo. 
Call Katie 924-7730 eves. 
BRAND NEW CAR 


RADIO SAVE $$$ 
Brand new Grundig Electronic 
auto-scanning car radio with 
L.E.D. dial display also station 
preset adaptor. Never been used 
will sell for $240. Call Steve days 
536-5390 ext 512 


Almost new typewriter for sale 
Silver Seiko in excellent condi- 
tion, warranty, barely used, Carry- 
ing case, brochure, etc. Call 426- 
4973 or 277-9789, Andy or Jim. 
$180, traded up to an IBM. 


pc | glider-18’ Delta wing, exc 
cond, needs cables, $350. 283- 
2759 in AM. 


CHEAP TRICK 
Providence 3/24/80 sold out for 
best tickets down front to this 
concert in the 3200 seat Ocean 
State Theater call 401-769-5407. 


BUYING 
DIAMONDS 
GOLD 
SILVER 


Heirloom & Antique 
Jewelery 
Pocket Watches 
Gold Coins 
Also American, European, & 
Oriental gold items. 
LEBOWITZ 
JEWELERS 
White City 
Shopping Ctr. 
Shrewsbury 
__754-9821 
NATHAN’S 
471 Main St. 
Fitchburg 
342-0650 


‘Lt ‘OML NOILOAS ‘XINJOHd NOLSOS SHL 


eH 
= © Folding & Modular 
i to move) 
i Foam Mat- 
| 
= Open Tues.-Sat. 
| 11 AM -6 PM 
( 492-2886 
| 
\ (6846 Mom. Ave. 
| SSE 
| 
| 
| 
| 
Fon sae 
: fY GREAT CHINESE FOOD & = = 
AT HOME Ly 
| | 
1 = . 
i 
‘J 
165 Brighton Ave., 
= 


SAVE $ MONEY $ 
ON CAR SPEAKERS 
KRIKET series 6000 auto stereo 
speakers with tweeter & woofer. 
| Brand new equipment. Will sell for 
$84 a pair. Call Steve days 536- 

| 5390 ext 512. 


PERGO CARRIAGE 

Beautiful carriage, suede-like 
brown with wicker sides, Exc. 
' cond. Reas priced. Call 969-6345 


GREAT SKI DEAL 

# Two (2) complete ski outfits: in- 
, cluding HEAD skis, LOOK- 
NEVADA bindings, poles and 
boots. Excellent opportunity to 
start skiing at low cost. Call 6-9 
PM 489-2848. 


Harvard Book Stores pays TOP 
orices for used textbooks. 


26 


CASH? 


We buy used papervacks 
Harvard Book Stores 
1248 MASS. AVE., CAMBRIDGE 

732 COMM. AVE., BOSTON 
124 NEWBURY STREET, 


RG-Pro-16 Rangr Expander $200 
Kenwood 9100 /ch 0.03% thd 
$300 Nikko Gamma | FM tuner 
$215 Sherwood S5500 tube amp 
50 w/ch $150 or best offers. Mint 
condition. Jim 353-7602. 


Dynaco stereo 150 power amp, 
kit, ex. cond. 150 watts, meters, 
speaker fuses. Set up & working. 
$200. 825-1704. 


INFINITY column Il speakers (5 
driver 3 way) new $768, now $395. 
Tandberg TR 2075 receiver, top of 
the line, 150 watts; new $1200, 
now $795. Tandberg TCD 330 
3head 3mot or cassette deck; new 
$1000, now $550. All still under 
warranty; orig. packing. Call Rick 
876-7055. 


Nikko pro series components 
Gammo | FM tuner, Beta Il 
preamp Alpha Il amp, EQ-! 
equalizer all for $990. Allison one 
spkrs $400. BIC FM-10 indoor 
antenna $45. Pioneer TV sound 
tuner TVX9500 $95. All units in 
excl cond. Call 867-9068 PM. 


KLH stereo compct FM new stylus 
gd cond $85 Sony TC350 tape 
recorder w/mic needs wk $50 6x9 
beaut grn wi rug $75 262-2684. 


Smith Corona elec. typwriter 
$133. Excellent condition. Uses 
snap-in cartridges for easy error 
fix. Tom at 742-1872 eves. 


British Seagull outboard engine 

| 2HP. Used % season. Perfect for 
your dinghy. A steal at $325. 242- 
1963. 


THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


BUMPER POOL TABLE 
Regulation slate top, 36” X 51”, 
legs fold, $200. 242-1963 


' Beetlecat catboat, all wood, 2 sets 
of sails, many extras. $1000 firm. 
4 603-742-7725 evenings. 


SAMSONITE Mens Luggage 


{ bought. Never used. Paid $90 Will 
sell for 1/2 price $45 Great buy 
Call 354-5373 after 6 weekdays 


/ 10 speed bicycle $60. Desk $10 
Cobra CB radio comp. $50. Pool 
table $50. tele $5 Chrome 14” 
whis with adapt $25. Don 731- 
0521 


fh MR COFFEE brewing system, 
H $20; Skyway suitcase, $17. Call 
i 267-3440 after 7 p.m. 


2 Sleep bags $40 alum fold cot 
$10. Lea-suitcase $25. 1/3 HP 
mot $10. Steel shivs. Fshng tackle 
tools port TV 843-7529. 


1 2 FR78 14 snow tires ex. cond. 
Wally 783-9378 


| Salvadore Dali lithograph for sale 
: asking $550. Call 523-3284 after 6 


pm 


Dual 1218 turntable, dustcover, 
new Pickering stylus, pitch cue, 
anti-skate controls, 4 Ib table, 
oo manual. $100. Rick 837- 


equpmt in mint cond w wy Ittl use, 
warntes recpts & orgn! boxes incl. 
247-4782 


Bang & Olufsen 1900 turntable, 
MMC 4000 cartridge. Superb con- 
dition. $250 or best offer. Call 
Sandy 734-6051 


PORTABLE DJ SYSTEM 

4 Cerwin Vegas v-35, 2 techni- 
ques turntables, 1 BGW 750 amp, 
1 uni-sinc 100 amp, 1 Clubman 2- 
2 mixer, headphones & several 
records. $6800 excellent condi- 
tion Call Al 531-7937 eves. 


SANYO under dash cassette 
AMFM 4 channel car stereo. Exc 
cond originally $200, asking $125. 
Call Mike 738-9103. 


Soundcraftsmen 2217 equalizer- 
preamp 10 bands/chan. Equalize 
line or tape one-of-a-kind fr panel 
new $550, $325 395-4686 pm. 


1 pr Bose 901 Series IV spkrs w 
equalizer, brand new, never used 
perfect cond. $750 (neg). Save 
$200 off list. 237-1786 


Bands wanted for possible televi- 
sion appearance send tapes to 36 
Bromfield, Boston No. 300 or call 
451-0121. 


Soundcraftsmen MA-5002 stereo 
pwr amp, 250wpc 2 Cervin-Vega 
V-30 spkrs exc cond ask $1195 or 
BO call Jeff 603-434-6578 after 6. 


Sound technician needed for 
working, originals, R&R group- 
prefer person w/ van. Please call 
617-273-0300 or 603-673-8297. 


SERIOUS ABOUT 
SUCCESS? 
We need dynamic gtr & bass w 
strong vel & 80’s chops 4 soon 2B 
signed pop/new wave recording 
band. Call 277-4277. 


| am rhythm guitar-keyboard- 
vopro band. Have originals, P.A., 
rehearsal space, demos. 5927566 
now. 


Est show band sks vci M/F must 
double brass reed or percussion 
exp Iks gd gig for right person Call 
John 623-3992 noon. 


Versatile experienced lead 
guitarist double on bass looking 
for working band. R & B, funk, sw- 
ing, GB, country Sam 492-8340. 


NRG is looking for bass & drums, 
vocals & transportation helpful. 
Call John 267-3152 or 731-0073. 


Fem voc/guitar wanted by bass & 
uit for comm folk/rock trio. 
rans & equip a must! We have 

PA Steve 846-0523 284-7925. 


Composer looking for talented 
lyricist to collaborate with on pop 
tunes good connection call 536- 
3217 Jerry. 


Experience guitar/bass/vocals ~ 


sooking for working General 
Business band. 603-898-9294 
(Salem, N.H.) 


Drummers: Original Rock Wave 
Band w connections sks dynamic 
& imaginative drummer w solid 
immovable time. 254-2049. 


PIANO 
DOCTOR 


Treats out of tune, sticky, irk- 
some notes, plus, 
° Touch regulation 
° Refinishing 
° Appraisals 
oving 
° All work guaranteed 


Call 739-2200 
HAKMONINVM 
PIANOS 


A GOOD OPPORTUNITY 
Full time band (Dr, Bs, Ld 
Guitar, all vocals) Ik for lead 
singer/comp guitar and/or 
multiple keyboard. Gd stage 
pres to comp progressive 
rock band. Solid booking & 
recording. Call Gerry 617- 
783-3681 or Tom 617-782- 
6671 for audition. 


Car stereo, radios, stereo compacts, and components. 


Announcing the only store that can 
undersell Tech Hifi... Tech Hifi’s Bargain 


Center. 


We have lots 


tech hifi’s 


of new equipment at 
bargain prices. From 


Every week we receive truckloads of 
used, scratched, returned, and demo 
equipment from all the Tech Hifi 
stores in the area. 


A little bargain- 


hunting in Tech Hifi’s 


| HARDWOODS 
| BIRCH, CHERRY, MAHOG- 
| ANY, MAPLE, OAK & WAL- 
| NUT. The AREA'S LARGEST 
SELECTION OF FAS, KD, 
CLEAR HARDWOOD LUM. 
| BER. ALL PIECES IN RAN- 
DOM LENGTHS & WIDTHS, 
ALL DRESSED TO SIZE & 
ONE EDGE. PRICED BY THE 
| PIECE 
& 


Bargain Center 
can save you a lot 
of money. 


such respected manu- 
facturers as Sony, 
Panasonic, Super- 


ARDWAR 
135 HARVEY ST. CAMBRIDGE 
876-4460 


f Barn board. 2000 board feet 
available. 207-371-2504. Maine 


| Grumbacher sketch box, 16 12“ X 
i, 13” X 4”, 12 oil colors, palette, 
H brushes and more. Excellent con- 
dition, hardly used. $65. Also, An- 
cobuilt easle, new, $20 Call Lisa at 
472-5370 after 7. 


f Sony 17 inch color TV with remote 
contol/brand new/has warranty. 
Will sell for $525 firm. Phone 442- 
0172 


Porn film clitn fr sale. Huge svngs. 
Pis send 50 cents fr descrptn and 
H dtis to Mike Khoury Bx 253 104 
| Charles St. Boston Ma. 02114 


DIRECT TIRE 
HAUL-A-DAY SALE 


March 15 
See Ad in this Section 
126 Gaien St. 
Watertown 


PHOTOGRAPHY 


Leica M-4 perfect condition + 
almost new 35mm summicron 
lense top meter & case call Ned 
266-4942 eves 253-2640 days. 


Complete camera outfit-Miranda 
FVT camera w 50mm lens, Soligor 
28&200mm lenses, flash filters, 
tripod, cases. Harry 696-6355 


Seal no. 210 Commercial Mountig 
Press, mint cond, $350 or B O. 
Honeywell 710 Strobe, 2 batt. 
trays, accs. $55. 924-5103 eves. 


Super 8 outfit-Bauer XL5 cam, 
Eumig proj., Argus viewer, editing 
eqpt. Like New, $450 value - $250 
or BO, 782-2195. 


scope, and Pioneer. 


95 First St., Lechmere Sq., Cambridge 354-7617 / 667 Main St., Waltham 893-4434 
Vinebrook Plaza, Burlington 272-1819 / 304 Turnpike Rd., Shrewsbury 799-4126 


STEREO 
Son of Ampzilla power amplifyer 
$400 or BO. Macintosh MX-114 
tuner/preamp $400 or BO. Tan- 
burg 3300X 7” reel to reel, $300 or 
BO. Call 395-4466 or 334-4466 


Quality 
Used 
Hifi. 


SAE Mk.30 preamp ........ $119 
SAE Mk.9B preamp........ $299 
SAE Mk. 1B preamp ....... $399 
SAE 2100L preamp........ $459 
SAE 2800 equalizer........ $369 


Phase Linear 2000 preamp. .. $159 
Phase Linear4000 preamp . .. $299 
Harman Kardon 17 preamp....$329 
Harman Kardon 18 tuner.......$369 
Harman Kardon 19 amplifier..$329 
Accuphase C200 preamp......$359 
Sound Craftsman 

PE2217 preamp........ $299 
Infinity Q2 speakers (pr.) . $899 


te 


Quality components at the right price 
182 Mass. Ave., 

Cambridge, Mass. 
02139 864-HIFI 


Audio Pulse Model one, Digital 
Time Delay System, Excellent 
Condition, all packing & papers, 
$400, 617-659-4366. 


Kenwood 3055 turntable fully 
automatic single play granite base 
Ortofon cartridge asking $225 call 
267-8358 Jeff. 


Toshiba SY-335 preamplifier & 
SC-335 power amplifier, mint. 
$220 Onkyo T-4090 Quartz lock 
tuner $250 BO all new 267-7542 


Garrard SL-95B turntable for sale 
gd cond w wainut base & Shure 
cartridge man & auto play Cail 
Ted 536-2965 or 6096. Best offer. 


AUDIO VISUAL 


CAR STEREO 
Pioneer KP-500, under-super 
tuner, FM-cassette, list $189 askg 
$100, JVC S-M3 car spkrs, 2way 
list $200 askg $100, Dual 510 
turntbl, semi auto, low prfl w/ 
scope list $210 askg $110, All 


GIGS 


Musicians 
Save | 
40% 


On Studio Recording 
Time 

Professional 
Recording 

Call 536-5390 

Ask For Steve or Dick 


Guitar player seeks full time gig 
w/T-40 or GB band. Can read is 
into rock & jazz & has trans. Call 
Barry 767-1248 


Drummer & bass player needed 
for high energy 50’s & 60’s show 
band. Good starting pay. Call 598- 
5006 


Falsetto-bass singer seeks gigs 
with Acappella group doing 50’s 
material. Call 491-3611. 


Singing songwriter guitarist to 
form voc oriented trio w singing 
piano & bass M&F orig & covers 
infl: P Simon R Newman S Dan hv 
rehrsi sp please be caring know 
your head Mark 776-7786. 


Est working band seeks guitarist 
& keyboard man who sings & is a 
solid drummer. Must have gd att 
equip trans (pref from Boston 
area) & desire to go beyond night 
clubs. Front man doubling on 2nd 
inst (keys, sax, etc) or 
guitar/keyboardist a poss. Into 
rock, r & b, new wave & orig pro 
exp a must Call 628-2255 Bruce. 


Keyboard player & bass player 
wanted to enter rehearsals & soon 
to gig w/ r & r band Call John at 
266-8176 Iv message. 


ECONOMY PHOTOS FOR 
BANDS & GROUPS 
Portraits for Ld singers. Basic 
package includes 25 8x10 B&W 
for $35. Overnite service avail. 
(extra) 438-9684 keep trying. 


CAPE COD 
Need experienced professional 
duo for popular Cape night spot. 
May-September. Reply with 
resume & phone. Box 967, 
Brewster 02631 


Heads-Up+* 
Boutique 


531-537 Broadway A | 28 
LAWRENCE. MASS 682-1632 


Satin - Sparkle - Glitter 
First with New York & 
West Coast Fashions 


Clothes for... 
Stage, Show, 
Rock, Disco 
or 


Fun! 
“We have 
all the 
clothes” 


6e it hard rock or dressy show. *- 
We have the styles to fit your act. 


Hours: 10-8:30 P.M. Tues. & Fri. 
10-5:30 P.M. Mon, Wed, Thurs, Sat. 


Demo pf your dreams: Arista rec 
artist/producer will work with you. 
Sound better on tape than you 
ever thought possible. $18/hr in- 
cludes everything. Please, only 
serious inquiry. 566-7734 


Songwriter looking to form 
original new wave band. | play 
guitar & bass. Call Peter 498- 
3418. 


Experienced guitarist seeks full or 
near fulltime gig. Have PA, Trans, 
equip. Double bass, drums.BU 
voc. Call 527-1437. 


Drummer avail for hard rockers 
who have perfected, Lizzy, 
Marino, Nugent, Derringer. Hv 
99-3100 ext 124 492- 
6787. 


Johnny Barnes needs experiencd 
bass player w/back-up vocais. 
Original rock. Studio, live. Call 
Nightcrawler Productions at 482- 
6869 between 4 & 8 evenings. 


Free Tax Tips Bulletin for 
Musicians-Music Consultants Box 
138-Westborough, Mass 01581 or 
Call 1-366-9585 


DO YOU 
BELONG 
TOA 
BOSTON 
BAND? 


The Spring 1980 Bos- 
ton Phoenix Guide to 
Boston Bands is on the 
stands April 8th. If 
you’re interested in ad- 
vertising or want a free 
listing call Steve Jack- 
son at 536-5390. 


Keyboard & guitar players needed 
for 7-piece parttime G.B. band 
must have own equipment & 
trans. age 18 or over call Mike or 
Jim 897-7388. 


Wanted- any band wanting to 
audition 19 yr old man with voice 
range from Elvis Costello to Yes. 
Has rock n roll at heart and willing 
to take on any challenge. Has ex- 
perience with working band as 
roadie and has run lights. Some 
guitar exp Been into rock since 
youngster. Doesn't matter if work- 
ing band or just beginning. Must 
be Boston area. Into Queen, Aero 
Smith and Van Halen Can write 
lyrics. Call 444-8883. 


Keyboards needed background 
vocals, bookings start in 2 weeks 
TP40 standars disco call Marie 
298-6392 


Fab career oppor for a singing 
drummer w high harmony & rock- 
steady beat. Exc money recording 
lyrical pop act. Linda 449-2788. 


Exp drummer into rock-new wave 
sks wrking nr wrking band. Have 
equip & trans. Willing to work. Call 
324-9303, 391-3053 Len. 


THE BEST LITTLE 
STUDIO IN TOWN! 


$15.00/hr 


(package deals available) 


Gene Vega Productions 
783-3232 527-2115 


Band graphics & lettering done in 
fine style L.D. 729-9605 


BASS PLAYER 
Available for recreational playing 
weekends only- J. Taylor, 
Ronstadt, Bonoff etc. Please 
describe ability, study, ex- 
perience, etc. Box 5305. 


1.P.C. 
Offering radio airplay and com- 
plete press coverage. Call 617- 
899-2498. 


New forming rock band seeks 
soundman 668-6473 


Drummer wanted for working T40 
disc showband. Parttime now Full 
time in May must be sers & 
dependable Paul 6pm 267-0912. 


SINGER FRONTMAN 
Seeks recording gig or working 
band. | have demos, equip, high 
range. Band should have tight 
harmonies, good orig, together 
concept. Cover songs should be 
current. | like Toto, Styx, Queen 
and nwe wave that’s musical. 776- 
6678 Sherman. 


Wanted multi kybrds into R&R & 
R&B for ongoing studio band & 
some gigs orig&old cover music 
a co contacts. 7pm 646- 
1841. 


PIANO SALE 


JD Furst and Son 
21 Brookline Ave. 
Boston, Ma. 


267-4079 
GOOD OPPORTUNITY] 


Songwriter/Performer/Gui- 
tarist & lead vocal with man- 
agement & producer audi- 
tioning musicians now for rec- 
ord & N.E. bookings. Where 
I'm going? My Originals. 
Where | come from? Doors, 
Moody Blues, Nei! Young, 
Eric Clapton, Bob Seeger. For 
info call 783-3681. 


THE 
GUARANTEED 
CLASSIFIED 
It runs til 
it works. 
Call 267-1234 


RECORDING 
Bands-singers-songwriters! An 
experienced 
producer/arranger/engineer can 
save you lots of time & money on 
your recording projects. Best ad- 
vice, connections. Paul Lehrman 
424-1253 


THE HEROES 

are looking for a talented melodic 
bass player who can also sing 
some lead and back-up. Age 21- 
24, must have good attitude, 
dedication, want to do anything to 
make it. We play original rock & 
pop music. Call now 877-8052 or 
877-8051 Jery. 


Looking for bookings or mgmt? 
Management One 284-6591 or 
762-6295. Send promo to Box 
516, 310 Franklin St, Boston 
02110. 


Bass player needed. Occasional 
gigs, blues and swing. Auditions 
now. Established act. Call Jack 
536-2060 or 762-6295 Iv messg. 


Scnd guit wntd for new wave-pop 
must be prof hv good vocal rnge+ 
look current. We have 45 major 
label interest 739-1615, 961-1218. 


NO FLUNKIES 
Bass and drums seek solid gig. 
Into high energy rock, new wave, 
+ orig. Go big or stay home. Call 
Matt 883-9721 anytime. 


Guitarist/writer/vocalist, 2nd lead 
or w/ keys, seeks basic, original 
R&R, new & old wave prefer work- 
ing or near but any serious have 
original material can front. 646- 
8746 aft 5 


Attention: Would Joe Pitts of 
Boston please call 653-7285 pm 
would anyone knowing Joe have 
him call Gravy. Thanks a lot. 


Classifieds 


are having a 


PARTY 
department 
Caterers - 
Dee-Jays - 
Supply Stores - 
Liquor Outlets: - 
Hall Renters - 
Magicians - 
Performing Groups - 


etc. 
Place your Party advertising at 
festive rates 
CALL 


267-1234 


| = = — 
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| 
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: — , j 
Handsome dark brown 2 or 3 j 
‘ 
| 
= 
= | 
| 
| 
4 
of 
4 
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e 
Personal checks accepted 
Master charge 
8.0. 
= 
i 


JOCKEYS 


For All Occasions 


COMPLETE 
SYSTEMS 
PROVIDED 


Call Bert 
At 
436-2992 


Also Available For 
Proms, Sports Banquets, 
Wedding Receptions, 
Christenings, School 
Dances. 


6-PC wkg bnd sks bass w/vocals, 
Trans $170-200 wk. all local clubs. 
John 738-5434 afternoon 


Jzz Fnk unit sks vry Funky poppin 
Bassist we hv place voc’s equip 
origs vry ser only pls. Ken 926- 
5067, Joey 923-9125 iv mess. 


Bass player & female front wtd for 
T40 rock band no travel own trans 
pros only looking for a “rocker” in 
front 374-4569 


Drummer & bass player needed 
to complete 5 piece band. Play ail 
styles. Full-time, must travel. We 
have work. Sun pm cali 668-2386 
rest of week 438-3635. 


Bass player needed by Kitty 
Phrills. Rock + orig. Vocals a + 
Objective: career + fun. Call 666- 
9852 


LEARN TO SING! 
Develop your own style while im- 
proving tone, range & control all 
levels, all styles; reasoriable rates. 
Have fun learning to sing well. Call 
eves. 782-3372. 


JAZZ GUITAR 

Make rapid progress thru co- 
ordinated study of transcrip- 
tions, ear training, theory, 
technique & reading. Learn 
solos of Pass, Wes, Benson or 
others of your choice. Ellis 
Prosner 547-4606. Gigging 
3/13 Souper Salad Wine Cel- 
lar gc Square, 9:30- 
11:00. 


PRO DRUM STUDIO 


All styles & levels. Gladstone 
method, extensive reading & 
4 way independence taught. 
Ensemble experience avail- 
able. Free evaluation lesson. 


Cail 965-2985 


THE 
GUARANTEED 
CLASSIFIED 
It runs til 
it works. 
Call 267-1234 


PIANOS 


Boston 
Portsmouth 
Miami 
SALES —SERVICE 


Pranos bought, consign- 
ment, rentals, moving, fi- 
nancing, flea market $99 and 
up, Grands, uprights, spin- 
ets, antiques, new, recondi- 
tioned, rebuilt, hundreds of 
vintage pianos. Compare our 
lowest prices. Steinways, Ma- 
son Hamlins, etc. Guaran- 
teed workmanship, plus full 
rebuilding services at rea- 
sonable rates. 


J.D. Furst & Son 


21 Brookline Ave. 
Kenmore Square 
Boston, Ma 267-4079 
7 days a week 
10 a.m. to 10 p.m. 


Got a song in your heart? Let it 


out! Voice lessons 354-7709. 


MUSIC 
STUDENTS 


Jazzy. 
Classical - at last there 
is a small group of well 
known performing 
musicians who can 
guide you in a positive 
direction. If you desire 
a career in music - we 
can help you develope 
your technique - style - 
improvisation - theory 
& music business 
sense. All instruments 
& voice. STOP your 
frustration and START 
building confidence, 
musicianship, and busi- 
ness connections. All 
sessions are private. 
Please call for inter- 
view and audition. 


566-5901 


- PETILLO GUITARS | 
of Boston 

BUY — SELL 
TRADE 


TOP DOLLAR PAID 
1106 Boylston St. 


536-3013 


CLASSICAL Guitar. Handcrafted 
Andre Martin Spanish, concert 
model. Excellent condition 
beautiful tone. Lisa 498-3123; 


SUPER MINIMOOG. 4 osc, LED 
for LFO rate, osc sync, chromatic 
transpose switches, harmonic 
distortion circuit, filter freq wheel, 
ribbon control, contour control 
osc 2, Vernier tuning controls. Im- 
maculate. $2000. CRUMAR 
PERFORMER $700. 923-1914. 


Musicians 
Save 

40% 

On Studio Recording 
Time 

Professional 
Recording 

Call 536-5390 

Ask For Steve or Dick 


JOHN PAYNE 
MUSIC CENTER 
GUITAR, PIANO, VOICE LESSONS 
Patient experienced teachers. les- 
sons tailored to your goals in 
music. Beginners welcome 
JAZZ ENSEMBLES 
limited openings, call now 
SAX & FLUTE LESSONS WITH 
JOHN PAYNE 
8 years teaching experience, 
nationally Know musician (four al- 
bums under own name, recorded 
with Bonnie Raitt, Van Morrison, 
been on Johnny. Carson, Sat. Nite 
Live, etc.) Beginners weicome. 
BUSINESS FOR THE WORKING 
MUSICIAN COURSE given by 
John Payne (5th year). Learn the 
insiders tricks of the trade BASIC 


RECORDING TECHNIQUES | 
COURSE given by a top pro 
engineer in a 16-track studio. Call 


Musicians, tired of typing th 

same address labels for every 
mailing? If your mailing list is 
from 200 to 2,000,000 names, 
why not let my computer print 
your labels for 4¢/label. Com- 
plete mailing services also. 
Call DAve at 973-7036. 


GOT SOME MAIL? ‘| 
e 


Miami 


Portsmout 


PIANOS 


SALES SERVICE 


Pianos Bought 
Consignment 

— Rentals — Moving — 

Financing 


Grands, Uprights, Spinets, Antiques, 
New, Reconditioned, Rebuilt, 
dreds of vintage Pianos. “Compare our 
lowest prices.” Steinways, Mason Ham- 
lin, etc. Guaranteed workmanship, plus 
full rebuilding services at reasonable 


J.D. Furst & Son 


21 Brookline Ave., Kenmore Square 
Boston, MA 267-4079 — 7 days a week 
10 to 10 


prices. 


hun- 


DO YOU 
BELONG 
TO A 
BOSTON 
BAND? 


The Spring 1980 Bos- 
ton Phoenix Guide to 
Boston Bands is on the 
stands April 8th. If 
you’re interested in ad- 
vertising or want a free 
listing call Steve Jack- 
son at 536-5390. 


INSTRUCTION 


PIANO/FLUTE LESSONS 
All ages welcome. Graduate of 
Berklee College of Music. Call 
Anne Clark at 263-3567 


PROFESSIONAL 
MUSIC 
INSTRUCTION 


by Boston’s Top Musicians 
Jazz - Rock - Classical ~ Pri- 
vate Instruction in all Instru- 
ments - Voice - Theory 


Credit or Non-Credit 
Scholarships Available for 
Private Studies 
Monthly Enroliment 


SCHOOL OF 
CONTEMPORARY 
MUSIC 
21 Brookline Ave. 
Kenmore Sq., Boston 


Cali for information 
267-4079 


In Your Home. 


You can learn to play the guitar with pri- 
vate lessons in your home. John creates 
individual lessons for each student and 
will travel the greater Boston 
area. 7-9334 today and start 
right away. 


YOU CAN 
PLAY GUITAR 


Steve Widman will teach you 
to play guitar in the relaxed 
atmosphere of your own 
home. For more information 
and to arrange for a free 
introductory lesson call Steve | 
at 266-9531. 


Phoenix 
Classifieds 
are having a 


PARTY 
department 
Caterers - 
Dee-Jays - 

Supply Stores - 

Liquor Outlets - 

Hall Renters - 
Magicians - 

Performing Groups - 
etc. 
Place your Party advertising at 

festive rates 


CALL 


267-1234 


PIANO TUNING & 
REPAIR COURSE 


Train for a profitable future! 
Day and evening courses 
available. For a personal in- 
terview and a free trial lesson 


call: 
PULSIFER PIANO TUNING 
SCHOOL 
1349 Center St. 
Newton Center, MA 02159 
332-7773 


Licensed by Mass. Dept. of 
Education 


JAZZ 
PIANO 


Taught By 


Tom Boss 


Performer, 
composer of 
“Wonder Woman” 
and teacher of 
professional and 
amateur pianists. 
Now holding 
auditions for a 
limited number of 
Openings from 
beginning to 
advanced. 
Serious students 
who desire quality 
instruction should 
Call 


367-9229 


for further 
information. 


Piano lessons-NE Conservatory 
grad. Patient & experienced 
techer. All levels 247-1450 


MUSICAL 
INSTRUMENTS 


Classsical guitars for sale 34 size 
with case excellent condition $55. 
Full size $20. Great for beginners. 
Call 354-7937. 


PA Horns & bottoms:2 Altec 808 
drivers w/ Altec 511B horns. Bot- 
toms are marine birch w/CV 15” 
drivers. $450 Jim 782-9834. 


Buying new drums-Don't. Exc. 5 
pc. bik. fiberglass Sonors w/ 6 
zildjians & all hvy. duty hdware, 
boom tripod stnds & extras. Must 
be seen & played. N. Quincy days 
& eves 328-3038. 


Gibsor Les Paul cust $500. Tama 
5-pc, hardware & cymbs $700 Pa 
Bin w/JBL DRVs & ev hrns $675 
pair. Karl 247-8341, 692-8761. 


TASCAM 40-4 
with DX-4 Noise Reduction Unit 
$1400. 1969 Gibson EB-1 violin 
shaped bass $250. Synare 3 $100 
AKG C-451 $175. John 755-3797. 


Fender dual showman reverb, 215 
cab & Alta,ir power attenuator, 
$350. Ibanez artist 2618, $450. 
Epiphone acou guit $100. 964- 
6326 


EMC P.A. 6 inputs, reverb, 2 cabs, 
w 2-12” & horns. Good condition, 
$325.Hohner acoustic guitar HG 
310 exc cond $175. Rich at 592- 
9536 am. 


Ivers & Pond upright piano. 
Reconditioned with new keys & 
hammers. Beautiful finish and 
case. $900. 522-7604 


ROLAND Synthesizer w stand exc 
cond. $425 firm. Acoustic guitar w 
case, good action & cond. $120. 
6am to 8am 322-6887. 


FENDER Twin w cover, wheels 2 
SRO 12" speakers gloss wood 
finish $425 firm. Sturdy trunk 
foam lined $20. 6pm-8am 322- 
6887 


Buffet A Clarinet Model Ri3A 
hardly used immac A-I cond. 
comes wdouble case $600.00 calli 
Jay anytime 749-4265. 


Boston 
Portsmouth 
Miami 
Sales - Service 


Pianos bought, consign- 
ment, rentals, moving, fi- 
nancing, flea market $99 and 
up, Grands, uprights, spi- 
nets, antiques, new, recondi- 
tioned, rebuilt, hundreds of 
vintage pianos. Compare our 
lowest prices. Steinways, 
Mason Hamlins, etc. Guaran- 
teed workmanship, plus full 
rebuilding services at rea- 
sonable rates. 


J.D. Furst & Son 
21 Brookline Ave. 
Kenmore Square 

Boston, Ma 267-4079 
7 days a week 
10 a.m. to 10 p.m. 


New Hammond B3000 Leslie 
HL722 tone cab auto-vari 64 rhy 
machine list price $7900 asking 
$5999 tel: morn & eve 603-880- 
7766 12-6pm 603-883-7111. 


Mini moog synthesizer w/ road 
case 8 mo. old $1125. Music man 
amp 65 watts 4 10” spkrs. 2 yrs. 
old $450. Morley wah, foxx tone 
machine, mutron Ill, mxr 6 band 
eq. Best offer Ed 653-0247. 


ALTECENTER 
ot IS TON j 


Our ads are small, 
but. 
your choice 


is not! 


395 A Harvard St. 
Brookline. MA 02146 


1967 HOWARD ROBERTS 
Custom Jazz Guitar, a very 
gg instrument. Must sell 254- 


GIBSON LES PAUL 
Natural blonde finish exc cond 
almost unused. Must sell 254- 
0154 


JBL SUPER STACKS 
Double front-loaded bass shovels 
w 2-15” JBL’s, Air suspension lo- 
mids w/2-12" JBL’s Hi-mids are 
2440 drivers w/3’ lense plates- 
boxed w/corners & wheels w 
passive x-oveers to 2-slot drivers 
per side, internally wired & boxed 
4 way system sold complete only. 
All cables & cannon connectors. 4 
mos old. $4000.00. Yamaha 
P2200 power amp in exc. cond. 
$650. 2 Biamp -overs $175 ea. 
Altspot 7-bar spotlight w stand 
$225. George 993-4768. 


Ampeg V-2 amp with Fender Twin 
cab. 2 channels built in reverb 
and 60 watts of power $325. Cail 
562-9203/9998955 Steve M. 


THE INSTRUMENT 
EXCHANGE 


Wants to buy used Fender, 
Gibson, Martin, etc. guitars. 
Also used saxes, amps, and 
keyboards. Check our prices 
on new & used instruments. 


661-9798 


Fender Rhodes satellite amps & 
preamp w JBLs $450.00 Call 401- 
333- 1541 


Upright piano Janssen “Cabinet 
Grand" superior tone light 
responsive touch ivory keys. Not 
furniture. Askng $495 266-7408. 


KI psch PA spkrs Ige 3-way 15" 
woofer, mid & hi horns in each 
superior sound & cond sac $850 
Jeff 734-8940 David 266-7408. 


100 YEAR OLD BASS 
Double bass 100 years old Ger- 
man flat back excellent tone 
$1800. 203-432-0715. Ask for 
Richard. 


4 pc-set-Fibes 22” bass 9x13" 
16x16” woodgrain finish w/fiber 
cases. Also misc drum parts & 
hdw. $500 after 5 603-623-3433 


King trumpet listed $450 in nice 
cond $125 247-9098 RM506 Al 


Sunn concert bass- clean, 150 w 
head. Bottom holds 2 15” jbik140 
$550 will con selling unit sep also 
50W Bassman head 536-1172. 


Great Grman ac bass hndcrvd CA 
1850 rndback fntastic find 4 srs 
plyr/cictr must see $3000 254- 
7489 eves. 


Martin @vaTiex 
Guild PIGNOSE 
(many more at) 

COSTANZO’S 
WORLD ( oF F MUSIC 
Mass. 
185 Water St. 
Exeter, N.H. 


trenser Rhodes 73 stage piano, 1 
year old, exc cond, $625. Call 
266-2366 eves or 437-2780 days. 
Ask for Coleman. 


Peavey PA100 $225 Roland CR68 
polyrhythm machine $340 Valje 
conga & quinta plus stands $400 
all brand new call 288-4822. 


Acoust 150 head 125w rms $200. 
Pre-cbs bassman 50w head $125. 
Orig bassman bttm with 2-12” 
$75. Also bass bttm with 1-15" 
Altec 421A $100. Sunn graphic 9 
bnd $45. Call Jim 332-0076 eves. 


Tascam model 3 mint $825 firm. 
Pedula bass-EMGs at brdge & 
position stereo/mon_ refinished 
must see $900. 262-3641 Iv msg 


Fender Rhodes 73 stage 7 mos 
old superb shape $700; 100 watt 
traynor bass amp good shape 
only $150 call Dan 623-5040. 


INSTRUMENT EX-CHANGE 
Announces the opening of its 
in store woodwind and brass 
repair services. We now offer 
Fender Rhodes repairs. In the 
Garage at Harvard Square. 
876-8997 
36 Boylston St. 
Cambridge, Ma. 02138 


For sale Gibson L6-S, black, with 
case, immaculate condition must 
sell $350 536-5595. 


Small grand piano with bench, es- 
cellent condition. Public address 
system. Mike stand. Great buys! 
Low cost. 267-3961 


5 piece drum set all re-finished 2 
cymbal stands excellent condition 
$350 Great for beginners. Call 
Paul 323-4402. 


2 PA spkrs electro voice TL 606 
100w 15 inch sp & cab $350 for 
pair or B O. Call 524-7751, Bill. 


G2 Gibson melody maker, cherry 
red w/hard shell case & extras 
classic sound & action, Fender 
ee. both exc $550 354- 
116. 


Trombone, Reynolds contem- 
pora, large bell, exc playing cond. 
$195. Violin $65. Call Jim at 253- 
7188 days 492-4941 eves. 


Acoustic 105 cab w/2-15" Ev 
speakers (new) strong bass sell 
for $200 call 625-0795 after 6. 


THE 
GUARANTEED 
CLASSIFIED 
It runs til 
it works. 
Call 267-1234 


0861 ‘LL HOUWW ‘OML NOILOAS ‘XINZOHd NOLSOG 3HL 


a 
DISC 
| 
- 
| 
| 
| 
= 
a John Maher | 
= 
| 
i 
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(28 


THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


JBL Bass Bins loaded $400 pair. 
Tapco 6100 RA & expander in 
flight case $725. Vocal monitors 
$90 ea. Dimmer unit $450. Call 
449-2788. 


ARP Omni 2 perfect condition 1 
year old $1300 or best offer call 
782-3450 evenings or weekends. 


SG Systems amp 410’'s 100 watts 
phaser bit in, distortion, rvrb, with 
ftswtchs and cover excint cond 
$250 Gerry 566-0867. 


Drummers 5 pc chrome fibes 
w/Hihat pedal and fiber cases 
asking $800 also 5 piece Rogers 
$300 call Brian 664-4854. 


C Vega B cab w 1-18” spk $375 
concert sz portable drum riser 
$150 E sunn 2-15" cab $75 call 
morn 232-0552 or 277-9558. 


Altec components-2 421A 
speakers, 5118 hdrns & 808-8A 
drivers, all new. 2 809-8A xover- 
s$500. 3 Shure mics & stands 
$150-$600. For package. Call 1- 
603-436-1189 evenings 


MOOG Synthesizer bass pedals, 
mint cond,$800. Fender Rhodes 
73, gd cond,$400. Call Mark (603) 
868-5326 or Don 868-2293. 


THE PIANO 


BUYER 
Pianos bought and sold. | pay 
top money for pianos. Call 
J.D. Furst. 


267-4079 


Must sell! Emerson upright pno 
$300 neg; Roland synth. 
w/presents; Elka string machine; 
all exc. cond., Mary: 482-3593 W; 
232-8465 H. 


Brand new Ludwig maple snare D 
6 % x 14 $125. Two Altec Lansin 
drivers 200 w rms on custom 
multicel horns $400 277-9558. 


YAMAHA portable organ, YC 45- 
D, excellent condition. $1700. 
RVS elec. synthesize Leslie spkr 
$400. Call, 245-9432. 


Acoustic piano for sale. Old up- 
right good condition $350 or best 
offer. Call Greg 359-7061 


Bought Jan 4 1980, Kustom 
model 4 bass head. 275 watts 
rms. 2 channels, graphic 
equalizer. Aliso new: Kustom bass 
cabinet with 4 heavy duty 15 inch 
speakers. 5 year warranty inciud- 
ed. Sell for $750 or BO. or trade 
for used Gibson 345 or 355 guitar. 
Call Gill 569-4914 or 567-7477 


1979 Fender Twin, mint condition 


- $400 or Trade for the right axe 
(LP STD?). Selling cuz | switched 
to Marshalls 266-1846. 


PIANOS 
WANTED 


TOP * 
CASH 


Paid instantly. All models and 
sizes. Anywhere, anytime. 


Call today 739-2200. 


PIANOS 


Professional lighting equipment 
includes 5 10” spots, 5 8”, & 1 6”. 
2 power boards, cord, & gell 
frames, $1400. Call Stew after 6 
pm. Framingham, 872-6390 


Pre-CBS jazz bass, early ‘65 L 
series serial no. Oiled natural 
finish. Nice mellowed axe, great 
ooee Asking, $450. Tim 646- 
7360. 


Cleviand Tenor sax, $150. Call 
524-3730 evenings 


RENT 
A PIANO 
day-Week-Monthly, Low rates, Up- 
rights, Spinets, Grands, Stein- 
ways. Delivery - tunings 
JD FURST & SON 
21 Brookline Ave. 
Kenmore Square 
Boston, MA 267-4079 
Open 7 days a week 
10 a.m. to 10 p.m 


YAMAHA- classical guitar with 
hardshell case like new call after 6 
pm 782-0643 $130.00. 


Musician going out of business 1 
Arp Pro Soloist Synthesizer, 1 
Korg percussion unit, 1 Peavey 
Master 400 PA system, 1 Leslie 
251, and many other accessories. 
Call anytime 925-0443. 


KAWAI ORGAN 
Model E60 paid $1200 like new 
$800 or best offer. 871-2386 


haustion of the mind which 
attempts to penetrate the mystery 
or her. 


To Nancy B. in Newton-Loved that 
night at the CB. Call me. The 
Baron. 


PERSON TO PERSON 


If you are a woman that would like 
to be treated like a lady, | now 
believe | know how to do this. You 
should be around the mid 50's, 
affectionate, honest & sincere. 
Why? because | am too. | live in 
the country part of Brockton in my 
own home, but at times it gets 
lonely. I'm 5°10" weigh about 180 
brn hair & eyes & do not smoke or 
drink. Would love to have coffee & 
chat with you. Please write. | know 
you will not be sorry. Box 751, Ab- 
bington Ma. 02351 


Celio mathias thoma $450 exc 
typewriter-manual $50 10 speed 
bike $75 stereo $40 Howie 254- 
5774. 


SWM 30 5’8 150 Ibs non-sinkg no 
drugs attractive sks woman 20-35 
who enjoys dancing, sports cook- 
ing, movies travel, stc. Box 5174. 


2 yr old Rhodes suitcase 73 ex- 
cellent condition. Never on road 
or used in gig. $900 or best offer. 
Rowan at 498-6140. 


Blond fender bassman 1962 pret 
brown face new power tubes new 
spkrs just checked etc small bot- 
tom brown griil cloth. $425 


WRITER'S SYNDROME 
SWM 31 professional, physically 
attractive & active, sensitive & in- 
telligent, enjoys photography, 
cooking, movies, bicyciing, skiing, 
& other outdoor activities, well 
educated & travelied seeks 
similar SWF 25-35 who has a 
pleasant voice sparkling eyes, & is 


- Ridiculous 


caring, thoughtful, has a sense of 
humor, not afraid of and would 
welcome long term relationship. 
Hopefully he will be near Lynn, 
likes cards, candlepins & cam- 
ping, jigsaw puzzles, a bit of 
travel, and just being and doing 
things together. Box 5180 


guy-head in 
cloudswho feels somewhat un- 
believable placing this ad wishes 
to meet intelligent, sensitive 
woman (with no expectations) 
who enjoys good food, wine,quiet 
evenings and fine music. | am into 
the sublime, hilarious and the 
romantic. | am intelligent WM 
(20's), sensitive, attractive and 
cuddley. Write Erik CY 485, 400 
Commonwealth Ave. Bos., 02115. 


Tired of bars and head games. 
This sincere, goodlooking SWM 
29 is. Would like to meet warm 
and caring S or D WF for romantic 
and friendship filled relationship. 
Drop me a line & ph no. Box 5232. 


I'm a special woman looking for 
an extra special man. Are you in- 
telligent, sensitive, considerate 
and hopefully (but not necessari- 
ly) attractive. Good sense of 
humor? | like Gershwin, 
Mangione, J. Taylor aswell as 
Steinbeck, Hardy, Potok, and 
Uris. | enjoy swimming and bike 
riding, dining out, going to plays 
and movies. | love to travel. I'm a 
nice person! I'm a mature 19, and 


to share fun times. If you've had it 
with bars and are intelligent & at- 
tractive and a little nuts, get in 
touch. I'm into too many things to 
list here and would like to tell you 
in person. Take a chance. Box 
5227 


Wht M age 18 190ibs 6’3” & fairly 
hndsm Ikng for F betw 18 & 24 Pis 
send phn no & photo all replies 
answrd. Box 5111 


Hndsm M 30's prof sinc sks slim 
pretty intel F. Please include 
phone no. PO Box 784, Cam- 
bridge 02139. 


Yes, | still believe in love! Petite 
vivacious v attrct DJF sks intell 
SWM 47+ for a warm caring 
relationship. Box 4951. 


Tall gd looking SWM 
businessman, 40's easy to be 
with, seeks attract young lady 28+ 
with warmth, gd humor common 
sense. Object: Friendship, fun, 
marriage, kids. Box 636 Malden 
Ma. 02148 


GETTING MARRIED SOON? 
WANT A FREE WEDDING? 
If you are interested in get- 
ting married in a unique pub- 
lic setting early in April with 
everything paid for, let us 
hear from you. Call Marcia at 
536-5390. 


Meet your match with “Person-to-Person,” 


the Phoenix’s newest classified section. 


The frustrating part of single life in Boston is that there are so many interesting people 
around. . . but no easy way to meet them. That's why the Phoenix is introducing “Person-to- 
Person,” an entirely new classified section that helps people get together. “Person-to-Per- 
son” is completely separate from the usual “Personals” section. And it’s better than dating 
bars, better than being fixed up with a “friend of a friend,” better than just about any of the 
usual ways of meeting people. 
With a “Person-to-Person” ad, you can say just what you're looking for in that special person. 
Then you decide which responses to follow up, because “Person-to-Person” uses no names 
and the Phoenix supplies box numbers. Just $2.75 buys box number service for four weeks. 
Just $2 for 4 lines 
To introduce you to “Person-to-Person,” there's a special less than half price rate of $2 for 4 lines. 
And you can charge it on your Master Charge or Visa card. So place your ad today. Just call the 
Phoenix at 267-1234. 


This week, meet someone “Person-to-Person.” 
Call the Boston Phoenix at 267-1234. 


THE BOSTON 


Phcen 


1x 


Marshall 8-10 bottom w/cover. 
$150 both are steals 227-2194. 


Fender Rhodes stage 73 key 
$400, needs a little work and tun- 
ing. l'll show you how to fix it. Call 
Greg 1-369-1267 quickly! 


Two labseries L-11 cabinets 4 
twelves in each excellent cond 
with covers casters and hardware, 
one year old $250, 458-6550 


Fender Rhodes stage 73, 4 years 


old, good condition, $500. 465- 
0156, Doug. 


RECORDS & TAPES 


Attention Bands! Light show for 
sale, 14 elipsoidals with bulbs, 
$500 strobe light, 30 trrip lights. 
light board, cases, cords, cables, 
plugs, calmps, retail $5000, will 
sell for $1500. Call 603-673-7158 


Laffargue upright piano refinished 
regulated & tuned, soft tone $600. 
969-4940. 


Amplifiers, Lab series L-9 Guitar 
amp $400, also Crown DC 300 
power amp $400. Millis 376-4122. 


Fender Rhodes new $700, Sunn 8 
chan. stereo mix/amp BO, Sunn 
concert lead $450, 2Aipha mon. 
BO, Bass pedals $150, Kustom 
amp $150 Acoustic 140 head 
$190, Kustom cab 215 $100, 
Wuliter elec piano rd case $100, 
Earth cab $75, assort mics. Call 
254-5195. 


Record collector selling entire 
collection of Rock & vintage LP’s 
from the 50’s to the 70's. ABout 
2500 in all. All priced from 1 to 3 
dollars each. Allin mint condition. 
Call Niel at 356-0265 


Reel-to-reei tape cheap! Used, 
bulk-erased Scotch 203 (1mii on 
5” reels) $1.25 ea or B.O. 354- 
3299 


MESSAGES 


Electrovoice Bullfrog PA cabs. 
2.each has 15” SRO and 3horns. 
Lk new $500. Fender Leslie tone 
cab. $100. Call 527-1437. 


Phoenix 
Classifieds 
are having a 
PARTY 
department 
Caterers - 
Dee-Jays - 
Supply Stores - 
Liquor Outlets - 
Halt Renters - 
Magicians - 
Performing Groups - 
Place your Party advertising at 
festive rates 
CALL 
267-1234 


Readers who wish to respond to a 
Phoenix box number should ad- 
dress their replies to: 

C/O THE BOSTON PHOENIX 
CLASSIFIEDS 

367 NEWBURY ST.. 

BOSTON. MA 02115 


Dearest Debbie & Susan, Hope to 
see you again soon. -Pat an’ Tom. 


Robin- can't print phone in here 
“m listed Brookline Sun ok Ander- 
son 


To Lis M. If you are still in the 
vicinity | am as crazy as ever. 
Roger Box 5271 


This love, at first glance a con- 
crete & very fertile egg. Later to be 
cracked & revealed colossal 
pride fruitless as the Parthenon. 
Blushing monumeng, The ex- 


physically trim & active. She must 
be able to deal with my arthritic 
problems & my use of an- 
tihistamines & chemotherapy. 
Serious replies only. Box 5115. 


GWM 6’6 190 Ibs 25 years old 
Handsome, sincere man with 
varied indoor-outdoor interests 
who loves immaginative romance 
seeks similar natural men. Box 


GWM 21 attr tired of bars sks attr 
intel GWM 20-26 to share music 
biking walks gd times & spring. 
Box 5278. 


Fun loving 40ish WJF bright at- 
tractive & in need of TLC. Please 
reply Box 593 Needham, MA 
02192. 


F POOL PLAYERS 
WM likes to shoot pool good 
smoke & beer would like to meet F 
18+ any shape who likes same 
also into pinball Box 5292. 


SWM 28 like running biking sen- 
sitivity seek WF PO Box 621 
Waltham MA 02154 . 


WN,25, gd Ikg, many int, wants to 
meet creative, sens, guy for com- 
mitted relationship. Write with 
photo if poss. Box 5319 


SINGLE FATHER 
Gentleman W 37 5’6 trim Ph. D 
seeks warm bright petite Ms to 
share pleasant hours dining dan- 
cing laughing dreaming strolling 
listening quietly being. Reach out, 
write, perhaps we'll find each 
other and something beautiful will 
happen Box 5236. 


bik. male sks F 
Write something 
PO Box 657 


Attrac-intell 
counterpart. 
about yourself. 
Boston 02124. 


SWJF 22 wd like to meet a prof 
SWJM 22-28 who is homest and 
who wnts to form a ser. long- 
lasting mngfl. rel. Box 5233. 


SO. N.H. ARTIST 

Shy GWM, 20 yrs; 5'11 w/fine face 
seeks a gentle, warm, affectionate 
devilishly handsome man in the 
So. N.H./VT. area for friend & 
poss relationship. | enjoy rock, 
folk, walk, talk. Would prefer a 
letter w/ photo & phone no if you 
like Box 5080. 


Attractive Black woman 5' 6 %", 
works nights, would like to meet 
an intelligent man between 30 and 
45. Taller than |, who is sincere, 


Jewish. If you're a winner at what 
you do, and have much self es- 
teem and are as choosy as | am, 
Please write me. Single men only. 
Divorced men with children are 
welcomed wholeheartedly. Age 
unimportant, but maturity and 
thoughtfulness is. Box 5243 


Attractive 25 WF seeks caring in- 
dividuals for friendship and fun 
times. Tell me about yourself. 
Photo would be nice Box 5247 


Asian-Am 32 prof. seeks friends. 
Into psych, philosophy, politics, 
feminism, yoga. Box 181 Mass 
Ave. Boston 02115 


Dr tall nice Ikg intell funloving 
seeks a woman 27-45 to be clos 
frnd confidante, share fiims, 
beachwalks, birdwatching Box 
281. 


SWM 25 shy but mature and 
sincere, would like to meet older 
woman (35-50) for companion 
and possible relationship. Box 
5268. 


SWF 40 slim intell warm sense of 
humor wid ik to meet SWM wt 
same to share biking walking jazz 
conversation friendship. Box 


SWM 30 6'1 gd Ikng quiet type wd 
like to meet sm type gd Ikng F for 
gd rin & poss marr I'm a 1 wm 
man s ph & let's talk Box 5318. 


HELLO 
M 26 sks F for movies rides sports 
please write Box 5280. 


Successful SJF slim attractive 
looking to meet M with same 
qualities prof or business orien 
Box 5287. 


GWM 26 5'3 125ibs quiet shy not 
into bars wants to meet other GM 
18-33 into politics, feminism, arts, 
yoga for living, loving whatever. 
Send photo/ info and way to con- 
tact to Box 5258. 


GWM 23 5’9 slim attr musician, 
tired of bar scene, would like to 
meet similar intel, sensitiv, ar- 
tistically oriented man. Seeking 
warmth, honesty, sincerity for a 
change. Box 5250. 


SWM seeks young SWF to party 
with on weekends. No time for 
romance. Must like rock. I'm 24 If 
shy bring friend. Box 5252. 


Prof SWM 28, who feels silly plac- 
ing this ad, looking for WF 22-28 


TAUNTON AREA 
GWM early 30's wishes to meet 
similar. Box 5239. 


BEAUTIFUL BLONDE? 
SWM lawyer 5’9 Ik easy-going but 
adventuresome sks SWF 22 to 30 
tired of bar-scene. Note & photo 
to Box 8583 Boston 02114 


SBM sks attr F 20-35 to share fun- 
times. | am _ professionally 
employed and enjoy boating, 
music and homelife. Box 5079. 


GBM, 21, intel, gd Ikng, intertd n 
meetg simir 18+ 4 reltnshp. Send 
foto & descrptn. Box 5162. 


Me-prof GWM 30! U-yunger! We- 
njoy movies, loyalty, dinners, 
travel, school work, suits, music, 
class! POB 335 Union Sq Somer- 
ville 02143. 


GQ mag model GWM 19 (9.5 on 
10) seeks friend (also model 18- 
24) to go out 2 discos, movies, 
ro drive around town with! Box 
4768. 


GWM 27 attr knd snstv intrstng in- 
tel wit creatv in philosophy debate 
ideas class art/music sks sim 4 
Ing trm rel Bx 5283. 


GWM 23 sks spec guy 18-28 for 
close long term rel U must be 
honest sinc warm affec gd Ikng 
yng but mature & like prog music. 
! am same 5’11 160 br/br moust 
shy also like sports drums bike 
movies concerts gd smoke & 
quiet nites w/someone who really 
appreciates feeling close. Serious 
only Box 5306. 


HAVANA DAYDREAMIN 
SWM 28 likes sailing, scuba, 
music, wid like to meet warm, in- 
teresting female for 
friendship/relationship. | am grad 
ed attractive, fun-loving, caring. 
Let's swap sea stories. Box 5295. 


WM yg 52 seeks attrac F age 36- 
48 for friendship or more-one who 
wouldn't usually ans ad this type 
POB 367 Beimont 02178. 


GWM 28 5'9” 135 light brown hair 
moustache blue eyes very good 
looking. Lkg for GWM masculine 
gees looking dark hair between 
8-35. Someone who sincerely 
wants to acheive a close 
relationship with one person. | 
enjoy music, dining out, theatre, 
movies as well as domestic 
evenings. | am a_ professional 
working person living in Boston. 


Although I'm openty gay, | dislike 
meeting people in bars. If in- 
terested send photograph, 
descrictipn of self and phone no. 
to Box 5301 


Readers who wish to respond to a 
Phoenix box number should ad- 
dress their replies to: 

COR 

C/O THE BOSTON PHOENIX 
CLASSIFIEDS 

367 NEWBURY ST., 

BOSTON, MA 02115 


PERSONALS 


Please Put Return 
Addresses On All 
Envelopes So 
Classifieds May be 
Returned In The Event 
They Are Not Clearly 
Readable 


NOW OFFERING: 

¢ Private postal box 

© 24 hr. telephone message service 

¢ instant copy machine 

mall forwarding 

© free tel. calis to check box for 
104CHARLES STREET 

BOSTON 367-2810 


Readers who wish to respond to a 


Phoenix box number should ad- 
dress their replies to: 

GOR. an 

C/O THE BOSTON PHOENIX 
CLASSIFIEDS 

367 NEWBURY ST.., 

BOSTON. MA 02115 


is the best of 
the bunch. 24 hour 
service for $10 a 
month. Call 826-6700. 
SHOO-BE-DOO! 


“Call 825-6700.” 


UNUSUALLY 
ATTRACTIVE MAN 
Sks woman to love, marry, have 
children, be faithful forever. 
Possible only if she is a blue eyed 
super brilliant Christian w/great 


strength of character, rare 
beauty,well developed figure, sofe 
& feninine, 20's. If her description 
reminds you of anyone, please 
give her this ad or write me about 
her. I’m Southern, Ivy League 
grad., 30's, 65”, 210 Ib, green 
eyes, brown-blond curly hair, 
strong, independant, masculine, 
deeply into true passions of the 
ae. Fith Ave Box 1066, NYC 
1 


PAT 
Interested in meeting? Write 
back! | am 5'10, 145 Ibs, and | lik- 
ed your letter. PO Box 697 
Boston, MA 02119. 


BEAUTIFUL 
PETITE DOLL 
Prof. SWF, mid 30’s in an open 
relat., seeks friendship of sen- 
sitive, intelligent, tall, attr, WM 35- 
50. Phone, photo answd first. Box 


CAPE COD 
Considerate WMC who enjoy life 
both 35 sk to dvip a special rel. 
w/a sim. cpl. or F. Appr. good 
friends & conv. Non-smkrs, 
Orleans area. Box 5314 


Happily married North Shore F 
would enjoy meeting a woman 
with style and charm to develope 
@ creative friendship. Box 5320. 


OLDER MEN 

Really turn me on: If you're over 
40, are selective, successful, tired 
of being hassled or rushed & sk 
the uitimate in erotic pleasures, 
pls contact this lovely, extraor- 
dinarily talented, sensuous WF. 
Box 212 Prudential Sta, Boston 
02199. 


Bi FEMALE 

Attr cpl wish to slowly develop in- 
timate relationship w attr fem 
seeking friendship, caring, as well 
as sexual intimacy. Wine & dine 
with us in comfortable setting to 
get aquainted & explore possib 
oe, w no obligations. Bx- 
§125. 


ATTR OLDER F's 
Would you like an erotic and 
fulfilling affair with a gdikng WM 
23? Let's enjoy each other. Fone & 
foto Box 5120. 


SEX-ATIONAL NUDE MODELS 
who'll pose/date. Huge 128 page 
Mode! Directory bursting busty 
gals’ photos/ads/phone nos. 
Issue no. 3 just out-$6.95 to CS 
Model Directory, 147 W 42 St. no. 
603-P NYC 10036 


- 
| 
onal 
“Personal 
< 
= 
ailboX 
\\ 
- = AN 
yp > 
| 
— 
3 
i 


FUN COUPLE 

Very attr. couple wishes to meet 
an attr. couple (age not important 
18+) to swing with and to also 
consider dating each other 
seperately. Photo would be nice. 
Box 94, Newton, MA 02159 


For 2 weeks before this issue this 
ad ran under a wrong box number 
please reply again to this the cor- 
rect box number Hndsm dscrt 
nteli sexy wel bit guy (18-26) wntd 
by giving sucsfi busmn (BIWM 34) 
| wnt ur time for occ meetings- 
Boston-New Box 5204. 


Cpl 24 30 sks same open cisd fun 
S 51 H 6” 115 210 call Bi right 
people P&P prompt reply S Shore 
discr please Box 5002. 


Contemporary warm attr sen- 
suous considerate fun loving 
clean W cple seek attr clean sen- 
suous F for 3sm. He 6'1 182 ibs 43 
She 5’8 125 Ibs 34. Be wined, din- 
ed treated regaily Discretion ex- 
pected please reply PO Box 52 
Chestnut Hill, MA 02167 


Tall good looking successful 
bachelor 36 sks yng woman 18-20 
tor mutually rewarding en- 
counters in luxury Boston con- 
dominium. Total discretion 
offered & demanded. Phone no a 
must. Absoolutely no pros. Box 
311, 104 Charles, Boston MA 
02114. 


UCONN STUDENT 
Thin attr educ SWF trying to finish 
schoo! would love to meet men of 
good nature. Please send letter 
and stamp. Can travel N.E. P.O. 
Box 97, MansfieldCenter, Conn 
06250 


SWM 40s exec sincere succ sane 
honest has affinity for nudism & 
not being shackled with clothes 
seeks responsible intel SWF of 
sim disposition. Complete con- 
fidentiality & discretion assured. 
Box 5137 


GWM, 30's, 5'10, 160, seeks 
endwd Gr act friend in mid- 
coastal Maine. Write Fulton, Box 
27 Brooksville, ME 04617. 


European, handsome, sensitive 
MWM 33 seeks a woman-friend, 
mostly for daytime. | am very con- 
siderate & discreet. Box 5113. 


SUGARY SOUL SIS 
I''m a pretty sweet-eyed, honey- 
colored sexpot, 20, hot out of the 
oven and ready to serve you. PO 
Box 678, Brockton 02401. 


WM bus. man successful wishes 
to meet WF for daytime fun. Reply 
box 5116. 


GWM senior citizen but not old 
like to hear from GWMs Boston 
area fr act gr pas discrete. Write 
info phone Box 5133. 


Dracut-This SWM 25yo 6' 155 Ibs © 


sks a SWF or Bi ok or a Wepl to be 
my master, | will be your slave as 
you wish. PO Box 413, Lowell, MA 
01853. Please write, your slave is 
waiting. 


CPL SEEK FEMALE 

To join us in the luxury of our apt. 
We seek a youthful, sensitive and 
sensual girl. She’s 19 blond very 
att. He's 20, equally att. Come & 
join us right away. First time for us 
so let's enjoy it together. Discre- 
tion assured naturally. Photo & 
phone please. Box 5023. 


ATT’N FUNKY UNCTS 
GWM 40 bald hairy unct 5'10 158 
masc appr but submissive nds 2 
tst & smil unct sweaty dudes who 
R in2 funky scenes ws scat it sam 
u must B 18+ unct jock type Iv in 
for student jock poss no fats fems 
TVs foto fone w des Itr gets ist 
response Box 4878. 


Handsome Male 30 seeks slim, 
pretty F's to swing with. Please in- 
clude ph. no. PO Box 783 Cam- 
bridge Mass 02139 


CLUB GOLDENROD-Magazine is 
jam packed with ads and nude 
photos of Gay and Bi guys. 
Nationwide listings, some with 
adresses. Hot new issue $5 plus 
$1 postage to Goldenrod. 147 W 
42nd St. No 603-P NYC 10036. 


Lets find joy again together. Intell 
athl gdikg ed MWM30 sks MWF 
for intimate meaningful moments 
discr asked given Box 4914. 


Hndsm M 30 sks slim, attr, cpis & 
F's for good times. Please reply 
with phone. PO Box 783, Cam- 
bridge 02139. 


GENTLEMEN 

This lovable charming fun attr 
very shapely sensuous multi- 
talented WF sks mature 
successful appreciative 
gentlemen for discreet mutually 
enjoyable unhurried interludes. 
Box 4910. 


FANTASY 

Young, virile, very attractive and 
very successful SWM wishes to 
explore cross-dressing fantasy 
with beautiful, slender and sen- 
suous woman. Would like to be 
dressed in lace panties, nylons, 
garter beit and high heels and 
then seduced by a woman. If you 
have ever fantasized about any 
kind of erotic games involving 
sexy lingerie, this may be an op- 
portunity for both of us to explore 
our fantasies. Let your inhibitions 
go. Absolute discretion assured. 
Write CY Box 38, 400 Com- 
monwealth Ave. Boston 02215 


SWINGER PARTIES 
Central & N. MA - informal in- 
timate house parties for couples 
only. Replies confidential. Write 
re Box 1654 Fitchburg MA 


WM 35 6' 235 ibs will sagisfy WF 
ANY age. Older the better Aliso sk 
WM Bi ! am into hot sex A. |. Box 
271 Dedham Ma 02026 


FREE MAID SERVICE 
Attr WM will perform household 
chores for demanding & deser- 
ving females. Cleaning, cooking, 
laundry. etc. free. Box 5201 


LADIES & CPLS 
MA-RI-CT. SWM Stud 28, 5'10” 
140 Ibs has brn eyes, hair & 
moustache. Disctrete, clean, end 
& Ing lasting. Sks SF or select cpl. 
Will ans all. Sincere & horny Box 
2209 Prov. Ri 02889. 


GWM 30s sks intelli GWM student 
18-22 for frship & sensual fun 
Discreet. Foto & fone please. Box 
385, 104 Charlies St. 02114 


BiWM 5'10 19 150ibs handsome 
and bright with a space cadet's 
view seek similar guy with that 
sparkle too Contact Bx 5168. 


PROFESSIONAL 
WOMEN 
WM 34: available weekdays, some 
evenings. All cultures. Box 5224 


LET ME KISS 
that early morning hard-ache 
goodbye. This long-stemmed 
innocent-eyed beauty wants «© 
get you early risers up and off to « 


Photo. inst. provided. 
Reply W/phone; Box 5207. Leav- 
ing 3/80 


Foosball, table soccer-So. Shore 
couple wishes to meet other 
couples for game playing, good 
music, good smoke. Box 5136. 


2 GWM lovers mid 30's looking for 
a nude male servant. You will be 
covered in silver or gold body 
paint and fulfill our every sith you 
should be Gr pass Fr act into bon- 
dage, avg good looks, age 20-40, 
masculine appearing and very 
well end Send photo & phone fo; 
immed repli. Box 5178 


ARE YOU THERE? 

You are: GWM, 18-28, submissive 
Fr active, Gr passive, attrac, 
athletic, swimmer's build, enjoy 
occasional trip to the woodshed, 
work weekdays, have evenings 
free, live in the Boston area, have 
a car (preferably), can live life 
beyond the bars, and realize that 
in a master/siave relationship, 
real people can keep fantasy in 
perspective. | am GWM, young 
30s, dark hair, trim beard, 150 Ibs, 
5’9, professional, enjoy life, am 
looking for a dominant/sbmiss. 
relationship where the slave is not 
trying to take control. | can lead if 
you can follow. Are you there? if 
so, write Box 5212. 


Trained F Surrogate wanted for 
private therapy with attr gntl 59 yo 


W cpl he 30 she 28 both wel built 
looks need Bi male Bi cplis 

ms for 3 sum 4 sum erotic meets 
Picture Box 5256. 


Bi mate 40's seeks people open to 
discussion, relationship that is 
total to needs. All welcme. Start 
1980 with phone no. to mé. Box 
5253 


MEET SEXUAL 
friends nationwide. Tracy, Box 
405-BP, Wilmette, IL 60091 


UNUSUAL REQUEST 

WM 36yrs 160 Ib 5'8 average 
looks one woman man. I'd like to 
meet a woman something like 
this. First something unusual 
must be a little mean. | like long 
hair and nails if poss siender or 
med build, sense of humor, 
carefree but not reckless, enjoys 
a little drink and smoke, music, 
talking, a lot of togetherness. 
Remember, mean age (18+) un- 
important. North Shore helpful. 
Box 5254. 


GETTING MARRIED SOON? 
WANT A FREE WEDDING? 
lf you are interested in get- 
ting married in a unique pub- 
lic setting early in April with 
everything paid for, let us 
hear from you. Call Marcia at 
536-5390. 


seeks considerate male 18-35 for 
oce discrete get-togethers. Box 
5228 


Gd ikng 30yo WM exhibitionist 
wants to meet female who likes 
same for good discreet times. 
Write to Box 5234. 


DISCREET WOMEN 

| am the one to try for erotic en- 
counter bec. | am sincere. Ext dis- 
creet and desire to satisfy you 
am 30 6' 175 Ib vy attr well end 
prof M. Or spec. Bos 2 Prov area 
Send Dis way to contct. Box 250 E 
Wareham 02538 


FANTASY ENCOUNTERS 
Hndsm wi bit SWM seeks females 
cpis yng guys 18+ for erotic 
games swap foto/fone oil rubs & 
ideas Marc Box 278 Hampton NH 
03842 


Sub Bi WM would like to meet M F 
or cples for B&D maid or slave 
training ans all but phone 
numbers first. Box 5237 


BWM 28 hndsme slim strght app 
sks sindr sexy TS TV fr good 
times snd photo phone no if UR 
sincere and discreet. Box 5238. 


FIRM BUT GENTLE 
This tall handsome well educ. 
Male wishes a sincere & sensitive 
long lasting and meaningful 
relationship with a Female who is 
beautiful of mind. Only after our 


Massage by Women 


Richard's 
Athietic 


SENTER 


230 Turnpike St. 
Canton, Mass. 
Featuring 


@ SEVEN MASSAGE ROOMS e 
e SEVEN LOVELY MASSEUSES e 


GENTLEMEN: 
EXPERIENCE THE EXOTIC 
PLEASURE OF A SOOTHING 
MASSAGE BY A LOVELY LADY 
OF YOUR CHOICE 


$15.00 Discount with this ad 
Tues., Thurs., Sun. 

$10.00 Discount with this ad 
Mon., Wed., Fri., Sat. 
Offer Expires 3/14/80 


Rt. 128 to Rt. 3N to Rt. 62, Burlington, Exit 
60, Right, % Mile on Right. 


Open Mon.-Sat. 10 AM-12 AM 
175 Bedford St., Burlington, MA 
272-4255 


Richard’s 


Rt. 128 to exit 64S Rte 138 Stoughton - 
Go two miles and Richard's will be on your left 


828-9473 


OPEN 7 DAYS A WEEK 
MON.-SAT. 11 AM-12 AM 
SUN. 1 PM-12 AM 


$10 DISCOUNT WITH THIS — 
AD 


(Offer expires 3/14/80) 


good start! Professional men find 
out more. You'll see. Box 5186. 


White male. Write Box CY 133, 
400 Comm. Ave Boston 02215 


BIFEMALE 


~ Wanted to fulfill fantasy of young 


couple. We're in our 20's attrac- 
tive, funloving, sexy, sincere & 
discrete. Looking for white BiF for 
threesome that shail be most 
fulfilling. Couples may be con- 
sidered if female is Bi. First ex- 
perience, please be sincere. Ail 
answered with photo & letter, will 
return the same. Box 5257. 


GBM, 41, 6'1 165 seeks younger 
man (18+) for friendship, sex, 
possible rel. Send letter with 
phone number I'm very discrete. 
aan same. Box 284 Fitchburg 


GWM 30 prof seeks 18+ 
muscular or athitc guy well end N 
Mass or So. NH possible rmmt. 
See ad for So. NH under Room- 
mates 


BON APPETIT 
Very attractive, sexy French lady 
who keeps it trim, would like to 
share her or talents with 
professional men of good taste 
who wish to experience real 
satisfaction in th fr art of pleasure. 
Send address or phone no. to Box 
§202 
WOMAN WRESTLER 

I'm a WM 25 good looking good 
shape seeking woman who enjoys 
wrestling a man for the fun of it. 
Put me in as many holds as you 


like. I'll love it. Send descriptive 
letter to Box 5152. 
SMU GIRLS 


Are you bored lonely attractive & 
tired of staying in a cold dorm 
room or at home with the rents 
nights? This coll ed (BS) strong 
healthy gd Ikng & very sexy SWM 
26 5’'10 180ibs wid love to meet 
you. Have priv home on water- 
front % up 195 East. Life is too 
short. Write soon all answered. 
Box 5144. 


Slim attr. cpl. He 30 She 25 sk sim 
cpls & F's for good times. Ph. no. 
a must. Box 5177 


WHY ME? 
Because | am a lovely F of color, 
beautiful eyes, alluring smile, 
gorgeous long legs. Prof 
gentlemen only Box 5005. 


DRIVING SOUTH 
32 WM photographer w/camper & 
Mexico-Guatemala Mayan ruin 
assignment seeks 18% WF for 


Guide to erotic places & our uni- 
que/catalog $3. Pendulum PO 
Box 338, BU Sta, Boston 02215. 


BWM 19, 5°10", 145. Young 
looking-seeking another nonhairy 
young friend 18-19 who likes 
films, music and someone own 
age to talk with. Prefer Salem 
area. Please send description & 
phone. Box 5231 


BEAUTFSKSM 
Pretty & shapely blonde F patient 
& understanding sks successful 
men 4 intimate discreet en- 
counters of the most ecstatic kind. 
Will only reply 2 complete name, 
address, & tel no. Box 5244. 


Lkng for F 18-30 to have psy- 
chadelic day with. Please rspnd 
ASAP to Box 5245. Music is a 
plus, art, photo, etc. 


EXQUISITELY 
BEAUTIFUL 

Vy beau statuesque buxom sexy 
desireable sexpot - former 
showgirl sk to meet successful 
gentiemen for the finest form of 
pleasure in my lux apt. Day ite 
rendevous w absolute disc. If 
marr & bored or want fantasy 
fulfilled u will not be disappointed. 
All replies ans. Box 215, Kenmore 
Sta Boston 02215. 


38 D BLONDE 
Enjoy a relaxing hour with a strik- 
ing blonde at her comfortable 
South Shore apartment. I'll tickie 
your fancy! Box 9737 


MWM 34 5'11 Ikng for very disc rel 
with fun-loving sexy F 18-35 M, S, 
or D So Shore, Cape. Afternoons, 
eves. Send tele and best time to 
call photo if poss. Absolute dis- 
cretion promised. Box 5259. 


BiWM 28 6ft 160 looking for Bi 
guys, sinc, masc, fun. No fats 
S/M, also couples. Box 5249. 


Your choice 1 Or 2 W males attr 
seek cpls or fem for good times al 
fantasies come true. We are 30 
yrs old Box 5267. 


Houseboy 2 mc/sf non-stereo-t— 
ype gwm 36 5'10 160 masc stable 
will b spnkd/restricted/sent 2 bed 
etc wil lern house rules hope 4 
reality situation w/ firm persistant 
person-sex not necc or xpctd sinc 
a ae no pro$ drugs single Ms Bx 
1. 


A slightly sadistic, eligible M 
would like to meet a similar F 24- 
33, who likes to go out then play 
afterwards. Send a picture of 
yourself to PO Box 1202, 
Framingham 01701. 


compatability is proven in all 
areas will | then teach this special 
woman the joys of total boudoir 
submission, fantasy and highly 
creative erotica. Write Box 222, 
Newton 02159. 


SURROGATE THERAPY 
lf sexual problems hinder your 
relationships with women, sex 
therapy by professionaly trained 
female surrogates offers 
assistance. For info. Box 2097 


‘SM 24 from N. Shore looking for 


SF 20-25 for companionship poss 
relationship. Life is hard enough 
without anybody to share it with. 
Interested? Let's meet and talk, 
no pressure. Box 5274 


Successful undrstanding, GWM 
30 wood like 2 B a friend for a Bi, 
GWM 18-21 as he grows up! PO 
Bx 335, Union Sq, Somerville 
02143. 


AMERICAN GIGILO 
Yng hndsm wi bit WM to escort, 
etc succ Fem. Day-eve. Age, 
looks unimp, your enjoy is. Phone 
and time to call-Box 97 Ashton 


GWM, gdikng, intel, friendly, 25, 6 
ft 2 1n, 170, dk hr. sks trim G or Bi 
WM's under 22 to party or just 
talk. Inexp or curious OK. Box 
§230 


Masc GWM wanted must live in to 
help care for real estate & pets. 
Must be a good organizer per- 
sonable loyal sincere references 
needed on red line must enjoy 
yard work house duties sm sal to 
start gen handy man no drugs 
fems men only Bx 5166. 


W/C he 32 6'1 %" 170 Ibs she 24 
blond very att seeks couple male 
18-24 biond slim (prefer under 
135 Ibs) Female 1840. No BD, SM, 
WS, or fats. Can entertain or 
travel. Please enclose photo and 
phone. Box 5229 


‘59 MODEL WM WANTS 

an attr SWF. It's been too long 
since | saw a “really nice" curvy 
WF, cite, young, shapely bodyas | 
have passed my 40th yr. | again 
yearn for that youthful 18+ dream 
F. RU there? Much to offer, 
successful youngish SWM. Good 
appearance. Box 5235 


Att yg thin clean discreet sk cpls 
for fun times into photo roll play- 
ing all except pain BiS too Box 
354 S. Dennis MA 


MWM 35 & bored seeks Females 
18+ for fun times prefer Married F 
in same situation. Discretion re- 
quired and assured. Box 5240. 


“MWM 32 5'11” slim 160, br hr, bi 
eyes, attr. well built and educ 


BWM Concord bind bearded 33 
looking for friends. Into outdoors, 
mtclimb, antiques. You're 18-35, 
bright. Write Box 5272 


CAPE COD 

Tall, slim, middie aged Male, 
educated and financially indepen- 
dent, who's castle is beautiful, 
large, contemporary ranch 
desires sharing and caring 
relationship with Female counter- 
part. Send letter with photo if 
possible to PO Box D-N, East 
Dennis Mass 02641 


Nov inexp slave WM 37 sks intro 2 
Irn 2 serv dom teach. Trn me 2 
please U. No hvy S&M sinc dis- 
crete PO Box 1037 Boston 02103. 


HOUSEWIVES 
Are you sexually frustrated, 
neglected? Att WM 25 is too, seek 
housewife 30 to 50 to fulfill 
dreams & needs together open to 
time/place discretion assured PO 
Box 2284 Woburn MA 01888. 


MWM 50 wife sick, sks F any age 
(18+) to wine, dine, etc. Need to 
have fun and enjoy love and life. 
PO Box 122, N.Quincy 02171 


CAN YOU READ? 

2 Mature men 50s seek younger G 
or Bi Male 24-30 only for good talk 
friends maybe more no fems no 
hustlers must be ciean & discrete 
no kinkies or weirdos honest 
sincere people only phone or 
letter with photo a must for reply 
Box 5248. 


SWINGLE F WANTED 
The swing scene is for couples 
this M Wasp 52 sks slim attr F 
30/45 as partner couples parties. 
WP Box 325, Westbobo 01581. 


Attr slim WM 28 will help with your 
fantasies. | will strp act watch 
make love for fem or cpis. Clean & 
discreet. PO 694 Haverhill, MA 
01830. Send your disires & fantys 
and way to contact. 


WEST OF BOSTON 
Warm, intelligent, Rubenesque 
lady delights in providing relaxed 
evening interludes’ for 
professional men in sensual, sup- 
portive, suburban environs. Send 
adress or phone to Box 5262 


Married professional Male, early 
30's with diverse interests in- 
cluding politics wishes to learn 
more about straight sex from a 
pretty woman in her 20's or 30's. 
Write box 5246 


GAY? CALL NOW 


See Dating section-Steve. 


W cpi she 34 he 40 sks well endwd 
studs 8 or W for sex. Send com- 
olete ohoto phone Box 4533 


Attr amoral sensual hedonistic 
atheistic SWM lawyer 6' 160 Ib 40 
seeks attr F sleepingmate Write 
PO Box 80 Bos MA 02101 


WM 28 coll prof seeks WF for long 
gentle ioving sex, cuddling & car- 
ing. Virgins welcome. Frank, Box 
718 Boston. MA 02102. 
CS&W LOVEBOAT 

10 beautiful airline stewardesses 
would like to announce our 
summer plans to a few fortunate 
executives who require the ul- 
timante in entertainment for 
themselves and their friends. Our 
sailing yacht willl provide half & 
full day Loveboat cruises with as 
little or as much feminine 
loveliness as you require. We 
urge tasteful and shrewd 
businessmen to contact us for 
further information. Please send 
your Phone number to CS&W 
Loveboat, DLD no. 86, 310 
Franklin St. Boston Mass. 02110. 
You will be contacted with discre- 
tion, Thank you. 


EXECUTIVE SUITE 
High up in the heart of Boston lies 
an executive refuge where the 
weary entrepreneur of any age 
may enjoy the company of a 
beautiful and well educated 
Female, 23 or 27, blonde or 
brunette. If you would care to 
spend a few hours dininging out 
or just relaxing in our gorgeous 
city-view retreat with a bright and 
pretty Female, please send your 
phone number to DLD No. 86, 310 
FranklinSt. Boston, Mass 02110. 
You will be answered with discre- 
tion. Thank you. 


Att cpl she 26 he 35 seek att well 
built tall dk Bi male for 
threesomes picture appreciated 
phone no nec 25-36 Box 5276. 


SENS DSCRT LADY 
Sinc prof SWM 33 many intrsts 
sks attr fun Ilvng sens vivcos warm 
F for rmatc fun advntrs expirns no 
strings no pros discrtns respct ex- 
pctd assrd. Send foto fone ail 
answrd Box 5275. 


COUPLES OR FEMALES 
Gdikng WM 45 sks attr cpls or F's 
for good times. I'm from Nashua, 
NH area but can travel Send ph no 
& Itr to Box 5266. 


HOUSEWIVES/CPLS 
Hedonistic male 30's seeks 
BiF‘s/Cpls to act our mutual fan- 
tasies. Discretion is imperative. 
Box 5265. 


DISCIPLINE 
Custom Crafted Bondage & 
Restraint equipment as well 
as designer clothing and 
accessories for your scene. 
Discretion & excellent quality 
assured. Inquiries: Send $1 & 
SASE to POB 231, Pru Ctr. 
Sta. Boston MA 02199. 


ENCOUNTERS OF 
THE CLOSEST KIND 
Lovely sensuous blonde WF 30 
sks discerning considerate & 
successful gentlemen for mutually 
rewarding discrt day or eve 
rendevous at my place. All replies 
answered. PO Box 664, Kenmore 

Station, Boston, 02215 


WANTED HUGS & KISSES 
and a little bit more. GWM 35 r 
5'10” 200 ibx. POB 445 Andover 
Mass 


STUDENT SPANKINGS 
WM 30's seeks WM stud. 18+ for 
good old fashion jeans dwn over 
the knee spanking on your br. 
bottom. Strap paddle or hand. 
Box 505 Astor Station Boston Ma 
02123. Phn nbs answed first. 


YOUNG EXECUTIVES | 
! am delighted to announce that 
you may end your search for the 
bright and pretty blonde of 23, 
who will honestly enjoy your com- 
pany. | enjoy dining out, as well as 
relaxing at my rather exclusive 
address with attractive young 
men. If you are under 45, nice 
looking, married or single, and 
tired of being rushed or put on, 
then | ets get down to the business 
of pleasure. Please send your 
phone number to Box 4430. You 
will be answered with discretion. 
Thank you. 


Transvestite Social Club, near 
Boston. Friendship only. Females 
welcome. Write Tiffany Club, Box 
426, N. Hampton, NH 03862. 


WBi male 27, 5'7, 145ibs, 
professional, seeks intelligent W 
males for friendship, conversa- 
tion, gentle sex. Box 18590, 
Boston 02118. 


GETTING MARRIED SOON? 
WANT A FREE WEDDING? 
If you are interested in get- 
ting married in a unique pub- 
lic setting early in April with 
everything paid for, let us 
hear from you. Call Marcia at 
536-5390. 


62 


O86} HOYWW ‘OML NOILOAS ‘XINSOHd NOLSOG 3HL 


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THE BOSTON PHOENIX, SECTION TWO, MARCH 11, 1980 


30 


BiWM 30s will cook shr rent etc 
for congenial group in return for 
Ige pvt rm succ professional no 
hassles Box 5282. 


BWM 35 6' 155 biond blue eyes 
professional clean discrete 
runner would like to meet Bi or 
GWM 25-38 for frienship &/or 
sex. Prefer good mind/body easy- 
going honesty straight 
appearance. Can offer same. 
Please write Box 5279. 


GWM 22 vy gd Iks vy strt appng 
into rock music, movies, 
weightiftng sks WM 18-24 for 
frnd-shp maybe reltshp not just 
sex. |! f | wanted a 1 nite stand I'd 
go to a bar. Vy discrete phone & 
photo please, I'll send you same. 
Box 5273. 


HAVE FUN 
PLAYING WITH 


YOUR BONE 


NOTHING LIKE IT 
ON THE MARKET! 


YOUR BONE plus unique hu- 
morous Handling Instruc- 
tions. Mailed First Class for 
only $3.75. Mass. residents 
pls add 19¢ sls tax.YOUR 
BONE, P.O. Box 260, 
Scituate, MA 02066 


WM N. of Bost. Ikng for others | 
am 22 gd Ik. open mind. Want fun 
frndship honesty. Discreet. Read. 


ii Wakefield area or nr. Box 5041 


BAHAMA CRUISE 
Affectionate WF partner for 4/5- 
4/12 cruise by WM 35. Recent 
breakup creates vacancy. Ans 


4 w/foto way to contact. Box 5286. 


BI GIRL SEEKS SAME 
Attr BiBF20s into fr. pastry sks B, 
W, or Latin BiF into same 4 


¥ mellow times. Come enjoy my 


honeycake. Must B dscrt Box 
5242 


GWM very muscular 20’s seeks 
Sagittarius mate into sports 
movies music good times not into 
bar scene. No fats or fems. Box 


GWM 27 5'11 170 gdikng masc str 
app vy honest n sincere 4 same 4 
friend, poss rel. Interest music 
sports running weightlift and just 
enjoying life with the right person. 
Fats n fems don't ans. Photo ans 
first. PO Box 242, Malden, MA 
02148. 


SWINGERS 
RESORT 


¢ Nude Sunbathing 
e Exotic Rooms 
¢ Send $5 for Resorts 
Swingers Bulletin 
Jamesport 
Grandview 
Resort Motel 
Rt. 23, Cairo, NY 
12413 


COUPLES 
Sophisticated gentleman in late 
40’s would like to meet couples 
and females in 40's and 50's for 
evening interludes. Reply with 
phone and photo to Box 85 North 
Quincy Mass 02171 


CINDY OR DEBBIE 
Two lovely young ladies N Shore 


f would like to make your acqua 


Suzy is 5'5 br hair alluring br eyes 
& a very sexy smile. Debbie is tall 
slim blonde. Send name or phone 
no Box 3877. 


F COMPANION 
and office worker neat trim W cpl 
33-35 sk F 20-33 to work with & 


f live near us can provide job home 


& auto please write for details to 


| PO Box 765 Fall River MA 02722. 


LADY OF LEISURE 
Mature successful bus/profssni 
men would U enjoy day/nite 
liason with goddess who can fulfill 


} your secret fntsy? Sxy vry attrac- 


tive buxom leggy escort model 
with discrete charms has 
moves/curves appreciative men 
find irresistibly rewarding. Your 
time is my time is... Send name 
phone no Box 5307. 


YNG SENIOR CITIZEN 
nice Ikg clean healthy, seeks oc- 
cassional massage service by 
similar or younger (18+) person. 
Will pay or recip. Prefer Melrose 
Mal- Medford Everett area. 
Discrete. Box 5302. 


FOR SWINGING 
COUPLES ONLY 
WE’RE HAVING A 
PARTY! 

For information call: 


Essence 
944-0072 


Extraordinarily Attractive WM 
college student would like to meet 
straight or BiF for enjoyable get 
togethers. Box 4975. 


'W couple new to Attleboro area 
early 40’s wish to meet with 
similar couples for disirable get 
togther write Box 5310. 


Bi WM sks others 22-26 who are g 
Ikg, str actg, & inexp pictures only 
discrete Box 5288. 


FAT GUYS ONLY 
Send photo or detailed descrip- 
tion photo gets mine BiWM 6'2 
185 for more information write 
Chubbychaser David Box 5311. 


FOR MAR&SIN FEMALES 
Male 36 European 5’9 170 athliet 
researcher wants marr or single 
WF for intm-sexual fants. gd look- 
ing well dress multiple erotic dis- 
creet satisf Box 5313. 


R.!l. MWM who wants to stay 
married clean 27 5'8 140 bi eyes 
seeks sexy WF for love and 
games honest discreet Ph/Photo 
if poss. Box 5312. 


| have (12) 1doz 8 mil regular stag 
film very good cond will swap for 
12 of same all in color clear. Write 
Box 5315. 


Photographer looking for attrac- 
tive women to model lingerie. 
Very discreet, Short note and how 
to contact. Box 5304 ‘ 


SWM 32 yo 5'6 185 slighty over 
weight bind hair biue eyes nicely 
end. would like to meet over 
weight SWF to watch me mstb or 
I'll watch you or both of us at the 
same time. Box 5303. 


WM 30's clean cut gd shape Ikng 
for woman who reaily enjoys giv- 
ing Fr. as much as | do would like 
to meet at my office for tit for tat 
situation. Box 5298. — 


2 hot BiWM 20 285 Iking for 
handsme strait appearing men 
betwn 20830 yrs old for discreet 
hot sex picture if poss. Box 5299. 


W cpl sks other W cpls, she 22 he 
30. PO Box 471, Belmont MA 
02178. 


Attr WM23 looking fr heavy trip 
and Ig term rei with someone who 
wishes to totally dominate me into 
thier helpless slave. Box 5261. 


Exp WM 33 seeks F English mistrs 
garters stockings heels. | seek 
creative F dom. Let me please 
your every desire. Box 5264. 


Attr educ SWM 28 would like to 
meet a woman 28-55 full-figured 
& on the heavy side who is in- 
telligent sensitive & has a sense of 
humor. Box 5291. 


BiM 25 looking for friends in 
Wakefield area. Interests: movies, 
books, sports, & company of 
someone ciose to me. Box 5323. 


GWM 21 br hr, bl eyes seeks 
successful men friends. Will con- 
sider all responses. Box 5329. 


Attr, marr cpl 38 & 33, she Bi seek 
oth cpls or well end males. Disc 
assured. Sincere ad. Phn and 
photo if poss. Box 5241 


Prof. MWM 32 warm, desires af- 
fair with similar MWF looking for 
rekindling of that spark. Give it a 
try, my first ad. Box 5285. 
Worcester or Boston area 


MARK 


SWINGING COUPLES 
SOCIALS 


Our socials are where New 
England's most congenial 
swinging couples come to 
make friends and have a fan- 
tastic eveninas. Next social is 
in Brocton, March 22, 9 p.m. 
453-6414 


P.O. Box 372 
North Billerica 01862 


LADY LEATHERS 


BACK FROM EUROPE 
to discipline naughty girls & boys 
by paddie strap whip You will 
behave after bre bttm spanking 
Write for appt Box 5288. 


MALES ONLY PLEASE 
Young GWM Vice pres would very 
musc like to have a nice 
relationship with a very articulate 
person. | prefer a non-drinker and 
non smoker who appreciates the 
unusual. Looks help. We can try 
and see what happens. Box 5294 


Vry yng att Cpl seek Bi-G TV. 
Must be good at it. Enjoy exotic 
dress. Phon, photo Box 16, 
Stratham, NH 03885. 


WM 36 gdik gdbid sk sub Fr act 
WM n2 RRtoys no Gr desc U & 
scene w/fone/foto 4 reply. Perm 
4 no gays indescip Itr. Box 
5196. 


LOCATED RT. 1 (NORTH) 
AT THE LOWELL ST. EXIT 


PEABODY 
535-4550 


9 massage rooms 11 masseuses 
Sat. & Sun., Special-The Le Baine 


joy mutually sharing with you. 
Send addr or phone no to box 
4226 for immediate reply. 


BOX 
INQUIRIES 
NEW HOURS 


For box mail inquiries, 
phone 267-4437 be- 
tween 11 a.m.-2 p.m. 
daily. Box mail may be 
picked up between 9 
a.m.-6 p.m. Mon.-Fri. 


Readers who wish to respond to a 


Phoenix box number should ad- 
dress their replies to: 

BOX 

C/O THE BOSTON PHOENIX 
CLASSIFIEDS 

367 NEWBURY ST., 

BOSTON, MA 02115 


PERSONAL SERVICES 


OFFERING THE 
LARGEST AND FINEST 
FACILITIES IN 
NEW ENGLAND 
Massage By Women 
Whirlpool, Steam, 
Hot Rock Sauna 


When in Maine 
Call 207-772-2040 
686 Congress St. 

Portland, Me. 


LINE 
SERVICES 


Membership includes 
live talks with Laurie 
and her beautiful, sen- 
suous and under- 
Standing friends. Call 
anytime. 


GET OFF OVER 
THE PHONE 


1-617-745-5076 


FIVE DOLLARS OFF 
At Linda’s Mandala. Before 11AM 
and after 6PM with this ad. Call 
Linda's, 965-1066 or 965— 5535. 


Fr mass. 4 Males West of Boston. 
Out only. PO 1056 Concord Ma. 
Include phone. 


Relaxing massage 628-1176. 
THREE NEW MASSEUSES 
AT LINDA'S 


Our hour long total body massage 
is better than ever. Convenient 
loc. Open 7 days 9-9. Call Linda's, 
965-1066 or 965-5535. 


MASSAGE BY TRACY 
Looking forward to seeing old 
friends as well as a few new ones. 
If you enjoy taking your time, 
relaxing, and getting to know one 
another, then you're for me. Cail 
603-888-6557 


Women only why be shy if so br- 
ing a friend come get a relaxing 
enjoyable massage like you 
always wanted feel great again. 
Call Bob anytime 745-2906. 


JOYOUS 
MASSAGE 


Hour long and total body. 
Know the beauty of total 
relaxation in a comfortable 
friendly environment. We're 
dedicated and expert in the 
techniques in art massage. 
We're open seven days a 
week, 9 to 9. Convenient 
Suburban location. Call 
LINDA'S 965-1066 or 965- 
5535 


TANTALIZING 
Tall & terrific brunette, very sweet 
& lovely, will mass. in my privat 
home. Relaxed, discreet, quiet 
apt. Also dom. 277-3599 


If you’re a W/couple wanting a 
discreet, sensual massage/get- 
together write this decent looking 
WM send photo & desc B ox 5325 


MASTER CHARGE 
VISA 
BANK AMERICARD 


BiWM 23 5'7” 150lbs looking for 
an older GM to go out with, to 
cuddle up to, to be friends with. 
Please write Box 5289. 


Yng Bi WM sks F 18 to 30 to take 
to Plato's Retreat NYC Mar 21-24 
phn photo Matt CY 491, 400 
Comm Ave Boston 02215. 


WANTED BiF 
Cpls wants BiF or cpis age not 
imp 18+ looks are Fram are if pos 
will trav send photo & phone no 
will ans all Box 5297. 


tedecaroles pe 


Is For 
Couples 
Only 


327-6210 


NO SHORE FEMALES 
Attractive well-dressed MWM 36 
looking for married or unattached 
females to see on occasional 
evening or during the day. My in- 
terests are varied & enjoy most 
everything. Send phone number 
& time to call. Box 5309. 


ARE YOU THE ONE? 
Masterful domineering tall good 
looking WM seeks attr passive 
servile WF for B&D sessions. Also 
Raja &/or Tantra yoga lessons 
available to right woman. Send 
descriptive letter to Box 5296. 


GWM 34 5'10 145 trim musc intel 
sens varied ints sks sim 21-35 
sexy masc attr nonsmok for it 
relat snd photo & phone Box 5293 


WM 6ft 175 gdikng sks cpl 20s to 
30s for 3sme fun. Good time only. 
Hurry! PO Box 137 Sharon Mass 
02067 


Mid age MWC seeks lonely 45-55 
WC or BiF for new exp pref home 
in country for weeknds sincere 
mature reply w tel no. Box 5263. 


Adult movie exchange info: 15 
cent stamp to: POB 276 Billerica 
MA 01821 


DWF, 29, prof seeks perfect comb 
friend/lover. Enjoy theatre, films, 
travel, flea marketing, quiet times. 
Box 5328 


WM 23 wd like to tutor & counsel 
Box 5330. 


GOING BALD? 
Control hair loss with JOJOBA say 
(ho-HO-bah) ENERGIZER, the re- 
markable hair treatment you read 


about in Gentlemen’s Quarterly, 
Family Circle, American Hair- 
dresser and The New York Times. 
Don't accept imigations. Insist on 
JOJOBA ENERGIZER at select 
health food stores and stylists. JO- 
JOBA PRODUCTS, Cambridge. 


HYANNIS 
CAPE COD AREA 

Vy discrete married but unloved 
WM age 50 6’ 195 Ibs sks slim F 
any age for daytime encounters. 
Well end guar to please any way 
you desire discretion assured & 
required no pros please will ans 
all Box 5317. 


Strong Master 32 gdikg well built 
6’ 200 Ibs seeks mstrss or ladies 
any age 18+ to help traind & dis- 
cipline my slaves. Box 219 West- 
minster Mass 01473 with a way to 
get in touch 


COED BODYBUILDING 
Into bodybuilding? Muscle club 
with M&F membership sks new 
members. If you like to lift, work 
out, pose, share training tips & are 
musculaf M or F. Snd phone & 
photo to Box 5269 


WM 23 looking for females into 
leather and bndge. Also have 
friend for 3some. If leather and 
bndge turn you on then write 
There is no sense in hiding it dis- 
creet. Box 5270. 


Super att Bi W cpl will accept 
successful men and women for yr 
pleasure. Southern Ma Ri. Yr pl or 
our PO Box 1216 Taun 02780 


SEEKING GIRLS 10 FIGHT OR WRESTLE 
private film collector seeks to film fights or 
wrestling matches, either real or pence acted 
out by girls. will pay $100 to $200+ per girl per 
match. nothing difficult prefer girls with large 
breasts, muscular legs, or both: send tel. no. or ad- 
dfeSS 10: Jonn Cain. DLO 88 310 Frankiin St 

Boston, Mass. 02110 


HOUSEWIVES 

Good looking WM 32 looking for 
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BEACOM HILL"? 


1 Beacon at Tremont 723-8110 


For Apt. ads, circle one location: c ial 
Allston, Back Bay, Beacon Hill, Boston, Brighton, Brookline, Cambridge, Jamaica Plain, Somerville, Watertown, Suburban. Regular ommercia 
= DATE OF INSERTION CATEGORY Extra Lines ... 2 for $2.75 
- Bold Headlines ...... ... at $4.75 __________at $6.50__ 
For Bol For Bold | | 
Miminum total cost $4.50 for Regular Classifieds. 
Rate | | | | | | | $3.00 Name 
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£ SPECIAL INTRODUCTORY PERSON TO PERSON RATE: $2 FOR4 LINES $2.75 buys box number service for 4 weeks Signature ay Ps Agee eee te gS & 
? MAIL TO GENLX classiriep DEPT., 367 NEWBURY ST., BOSTON, MASS. 02115 267-1234 
i NOTE: When placing classified ads through the mail or drop-off 
Classified Office: 367 Newbury St., C t Newbury St. & Mass. Ave., Mon-Fri. 8:30-6 : 
ADS MAY BE IN BOSTON: NEXT Door: Bets Sooner Fare. 360 Newbury 61. Boston. Mass. until 2 AM points, DO NOT SEND CASH. Checks or money orders only. 
PLACED AT: iw camaninGe: Tech HiFi 38 Boylston Street, Cambridge, Mass. (Harvard Sq ) Cancelled checks or money orders or register receipts MUST ac- 
Deadline for all drop-off points is 2:30 Thurs. - company ALL refund requests. 


4 call 267-1238 ABSOLUTE DEADLINE — 5:30 THURS. please call Chris Taylor 536-5390, x 474 GUARANTEE: 11 your ac in the Apartments, For Sale. 


Roommates. Cars. cycles. Free/Trade, Housemates. Musical in- 
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ALL CLAIMS FOR ADVERTISING ERRORS MUST BE MADE WITHIN 7 i) PERSONALS and PERSON TO PERSON only Only our boxes and PO boxes Wanted categories doesn't work after you've bought it in advance 
DAYS FROM DATE OF PUBLICATION. may be used if you desire a response Phone numbers and addresses are not ac- for two consecutive weeks we will keep running the same ad 
DEADLINE FOR CHANGES AND CANCELLATIONS IS 4:30 TUES ceptable and will result in reyection of your ad FREE until it works. All you have to do is call us by WEDNESDAY 
No changes can be made in guarantee ads after the first two printings. The Boston Phoenix reserves the right to edit or reject advertising which may re- Curing ‘the week-of the ads second appearance (end Overy SuC- 
fs ‘ " sult in legal action or which we consider to be in poor taste. For your protection cessive week by WEDNESDAY) & tell us to rerun the same ad. You 
BOX NUMBERS: Service charge is $2.75 for each week the vox is advertised. 3); agvertisers must enclose full name. address and telephone number This {| must call EVERY week — missing a week voids the Guarantee 
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large self-addressed stamped envelope accompanied the ad assure you that your inquiry will be answered or that the product or service 1s ac- Guarantee ads after this time.) 

Readers who wish to respond to a box should address their repliestoBox c/o “Ualely presentec “NUIt: Guaranteea aas cancelled after the first publication will 


Boston Phoenix Classifieds. 367 Newbury St.. Boston, Mass. 02115 PLEASE NOTE! No ad will be accepted without an individual's phone ber. recieve a refund of one-half the balance of the second week 


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== - 

4 


Robert Brustein 
cuddles up 
to Cambridge 


by Carolyn Clay 


here are those in the world of letters and leo-. 
tards who will tell you that Robert Brustein is a | 


son of a bitch. Actually, the Loeb Drama Cen- 
ter’s new impresario is more catlike than puppyish. 
Tossed almost two years ago by then-incoming Yale 
President A. Bartlett Giamatti from one of that univer- 
sity’s highest spires — the deanship of the prestigious 
School of Drama — he has landed on his feet, a state 
away, at Harvard. And the man reputed to be as arro- 
gant as Zeus, as abrasive as Ajax, is virtually purring: 
about Cambridge, about Harvard, about the future. 
Whether or not he will remain standing, or purring, is 
yet to be seen. The proof, as they say in less august 
Harvardian theater cirlces, is in the pudding. And Bru- 
stein’s American Repertory Theater (the Yale Rep, 
transplanted and renamed) will soon dish up the first 
few servings. A Midsummer Night’s Dream opens, in- 
congruously, on the first day of spring, March 21. 
Mark Leib’s Terry by Terry, in its world premiere, joins 
the repertory on April 4, to be followed by the 
Brecht/Weill musical Happy End on April 25, and by 
Gogol’s The Inspector General on May 23. 
The Brustein to whom we spoke in his sunny new of- 
fice at the dawn of his new life was not the middle-aged 
man terrible of legend. Instead, we encountered a per- 


fectly pleasant, soft-spoken, only slightly acerbic gen- ~ 


tleman whose acute intelligence is offset just now by a 
relentlessly rosy outlook. Asked if he considers him- 
self arrogant and abrasive, Brustein smiled like Sweeney 
Todd impersonating Pollyanna and replied, “No, I 
think I’m sweet.” He is sweet on our town and on Har- 
vard, to be sure. And he is something of a Pollyanna re- 
garding the chances of his well-reputed but uncom- 
promising company to succeed here, where other ser- 
ious professional troupes have failed. Let’s face it, Bos- 
ton is to first-rate regional repertory what the Bermuda 
Triangle is to smali craft. 

Still, Brustein’s optimism may not be unfounded. He 
has engineered for himself and his company, as well as 
for Harvard, something of a sweetheart deal. He him- 
self has been installed as Professor of English and over- 
seer of the Loeb, as well as artistic director of the ART. 
The company will occupy the Loeb rent-free — ‘‘noth- 
ing to sneeze at,’ as Brustein points out — though it is 
responsible for its own operating budget. Harvard, for 
its part, has had no theater program of significance 
since the defection, in the ‘20s, of playwriting seer 
George Pierce Baker — ironically, to Yale. The univer- 
sity is, in a sense, with the acquisition of Brustein, wip- 
ing 50-year-old egg off its face. And it is finally put- 
ting the Loeb Drama Center, too slick a facility to be oc- 
cupied exclusively by amateurs, to reasonable use. 

In addition, Brustein and company have already 
launched an impressive if unofficial, performance-ori- 
ented curriculum, at least.part of which may be of- 
fered, as early as next fall, for credit. When Brustein 
was dethroned at Yale, he had numerous offers for his 
services,; but he wanted to come to Harvard. (Once 
you've been in the Ivy League, I guess, it’s tough to go 
back to the minors.) In any case, he campaigned for his 
current post, first proposing a graduate conservatory 
similar to the one he ran at Yale. That was rejected, so 

_ Brustein came back with Plan B, oriented toward un- 
dergraduates. But he makes no bones about the fact that 
an undergraduate concentration, and then a conserva- 


AFTER 


tory, are his goals. Meanwhile, he teaches English, 
considered by Harvard to be a legitimate academic 
pursuit — unlike stagecraft. 

What's in this for all of us, of course, is a profes- 
sional repertory company and a place on the regional 
theater map. The American Rep has already experi- 
enced its growing pains, during a 13-year tenure in 
New Haven (a burg that became, according to Bru- 
stein, something of a growing pain in itself). It comes to 
us full-grown, with an existing repertory of some 80 
productions (including those of A Midsummer Night's 
Dream and Happy End, being recycled this season), a 
stable of talented performers (either veterans of the 
Yale Rep or recent graduates of the School of Drama, 
which Brustein raided on his way out), and an estab- 
lished relationship with some of the country’s bright- 
est young directors (Andrei Serban, for example) and 
playwrights. According to Brustein, David Mamet has 
promised the ART a play, as has Christopher Durang, 
and he is working on Sam Shepard. In addition, Philip 
Roth is cogitating on something, probably an 
adaptation of Chekhov's Ward Number Six, and 
Brustein’s tennis and lobster-fishing buddy, William 
Styron, is working with John Marquand on a piece for 
the company. All of which sounds like an improve- 
ment on the Massachusetts Center Rep, with its end- 
less tributes and benefits (it got to seem like Channel 2 
without the programming, just the auction); the Boston 
Rep, whose good intentions wer usyally ambushed by 
incompetence; and even the’ once-exciting Theater 
Company of Boston, dormant for so long now that it 
should perhaps be declared legally dead. 


Brustein is, in some ways, an odd man to fill the of t- 
discussed gap between Boston’s blatantly commercial, 
downtown theaters and its smaller, avant-garde or 
semi-professional troupes. A 52-year-old Ambherst 
graduate with a PhD from Columbia, where he ab- 
sorbed Lionel Trilling’s philosophy of the inseparabil- 
ity of art and society, he is known as an elitist — though 
he dislikes the term. During his first tenure as drama 
critic for The New Republic, during the early ‘60s, he 
rattled almost every gold-plated cage on Broadway; his 
reviews from that period are collected in his first book, 
aptly titled Seasons of Discontent. So iconoclastic, eru- 
dite, and uncompromising that he makes Richard Eder 
sound like Gene Shalit, Brustein has continued to pad- 
dle against the mainstream of American theater, splash- 
ing loudly through such lively tomes as The Theater of 
Revolt, The Third Theater, Revolution as Theater, and 
The Culture Watch. His newest book, Critical Mo- 
ments, will be out in May. 

Finally, in 1966, Brustein was dared — by then-Yale 
President Kingman Brewster — to put his energy where 
his mouth was. He became Dean of the Yale School of 
Drama and founded the Yale Rep — but he did not just 
disappear into the maw of New Haven. Writing fre- 
quently for the New York Times, he has continued to 
stir up controversy with the regularity of a Betty 
Crocker stirring up muffin batter. A fierce believer in 
the necessity for a ‘‘minority” or ‘‘seminal” theater, a 
place for experimentation without commercial pres- 
sure, Brustein maintained, while at Yale, that he didn’t 
give a damn about the needs of the theater-going com- 

Continued on page 2 


[neg 


O86} ‘LL HOUVW NOILOSS ‘XINJOHd NOLSOG 3HL 


= 

: 4 

: 


THE BOSTON PHOENIX, SECTION‘ THREE, MARCH 11, 1980 


message 


Life at the BF/VF 


by Don Shewey 
I t doesn’t look like a ‘‘major media 


center.’’ Stuck in the back of a non- 

descript real-estate office building 
between the Boston University campus 
and Allston’s student ghetto, the Boston 
Film/Video Foundation maintains an ex- 
ceedingly low profile. But in the last four 
years, BF/VF (as it is familiarly called) 
has accumulated several hundred thou- 
sand dollars’ worth of equipment, spon- 
sored exhibitions by more than 150 
artists, assisted in realizing some 40 
original productions, and offered 


numerous courses and intensive work- - 


shops — all as part of its effort to provide 
a home for Boston-based independent 
film and video artists. 

It began with wishful thinking. Having 
spent years grumbling about the lack of 
communication within Boston’s bur- 
geoning independent film and video com- 
munity, filmmakers Susan Woll and 
Helen Krauss published a letter in the 
University Film Study Center newsletter 
calling for some group action. ‘On a 
sleety January evening in 1976,’’ remem- 
bers Woll, “60 film and video artists met 
at the MIT Film Section and formed com- 
mittees which began some of the basic 
services and programs BF/VF provides 
today. A steering committee of 10 met 
regularly to hammer out and refine our 
common goals. Petitions were passed and 
posted in laboratories, studios and other 
haunts of independent artists. And in a 
virtual groundswell, artists joined the 
new organization, although the only con- 
crete things we offered then were a sense 
of mutual support and exchange of infor- 
mation.” 

By the following year, BF/VF was able 
to offer much more. A $15,000 National 


-Endowment for the Arts start-up grant 
enabled the group to rent its current 
quarters on Brighton Avenue and con- 
vert them into usable space. Shortly 
thereafter, a deal struck with WGBH-TV 
brought in a substantial collection of 
video equipment from the station’s abor- 
tive New Television Workshop, which 
BF/VF continues to house and maintain. 
And while the first artist-members were 
making use of the center’s production 
facilities, BF/VF launched its exhibitions 
with an experimental film series, at the | 
Museum of Fine Arts, co-sponsored by 
Center Screen — thus forging a crucial . 
alliance with other existing arts organi- 
zations. 

- “It took a while for some people to 
accept this place,”” says programing co- 
ordinator Steve Anker, who recently gave 
me a tour of BF/VF, “because it repre- 
sents so many different things. People 
with a purist nature in film were uncom- 
fortable with the video people at first. 
Also, this town was so dominated by uni- 
versities and powerful organizations like 
the MFA and the ICA that when we 
started, we got so much resistance. Not 
necessarily hostility, but resistance. 
People were so used to funneling their 
energies into their own little things. I 
used to be amazed to walk through a 
building at MIT and see some tiny notice 
for a lecture by Susan Sontag or Susanne 
Langer, which apparently no one knew 
about except a handful of MIT students. 
Partly because of that, and partly because 
people don’t trust something new that 
Comes along, it took about two years for 
us to be taken seriously.” 

If public recognition was slow in 


Peggy McMahon 


Steve Anker and Kathe Izzo 


the value of a community-access media 


resource center and pitched in to make it. 


happen. ‘Except for a foreman who was 
paid,’’ says Anker, ‘‘this place was built 
entirely by volunteers who donated thou- 
sands of man-hours, tearing down walls, 
putting in wiring, and so forth. It took 
five or six months’ straight work, and, of 
course, improvements are still going on. 
And this is the way we’ve run since then, 
on volunteer energy.” And as adminis- 
trative director Michele Schofield states 
in her latest annual report, ‘If the Bos- 
ton Film/Video Foundation has emerged 
in 1979 as the most complete and effec- 
tive support facility for independent 
media artists in New England, this is 
above all because the organization was 
begun by those artists on their own initia- 
tive — they more than anyone knew 
exactly what they needed in order to 


create their works and bring them to the 
public. And their vision has now become 

a functioning reality. BF/VF has matured 
without losing a bit of its initial vitality. It - 
seems that the more-ambitious the pro- 
ject, the more members will rally to sup- 
port it.” 


Membership falls in two categories. 
General members, of which there are cur- 
rently 300 or so, pay $15 per year, andi) 
the 60 equipment members pay $150 (or, 
if they’re volunteers, donate their, 
services) in exchange for access to 
BF/VF’s equipment. These facilities in- 
clude an elaborate array of video cameras 
and studio equipment, state-of-the-art 
audio recorders for film, a variety of 
editing machines, animation tables, two 
screening areas, a rehearsal studio with a. 


Brustein in 


Continued from page 1 
munity. Now, in Boston, he is expected to 
fill them. 

Interestingly, Brustein seems to have 
softened his them eat Shakespeare” 
attitude. Oh, he is still dishing up the 


Film: Loretta Lynn 

Trailers 

Theatre: Auto-theatre 
Windfall» 
Cowboy Mouth 

Music: Linda Ronstadt 
Cellars by starlight 
Back to ska 
Classical 

Records 

Books: Khomeini writes 

Art: Morris Louis 

8 days a week 


Hot dots 

Airwaves 

Film listings 

Suburban cinemas 22 

Film strips 23 

Play by play 31 

Art listings 33 
34 


Cambridge 


Bard and has no intention of offering 
side-orders of The Man Who Came to 
Dinner, but he does care whether we like 
the menu. And he bristles at the implica- 
tion that he’s a snob, or that his produc- 
tions are, for the most part, too high brow 
to appeal to aught but other snobs. Bru- 
stein loves to tell about his house-man- 
ager at Yale, a New Haven fireman who 
became one of the theater’s most avid 
supporters. ‘You see,” he explains, 
have a great belief in the development of 
instincts and intelligence. I’m the one 
who is called an elitist, but I’m not. All I 
do is think that people can improve, can 
extend themselves, given the opportun- 
ity. It’s the true elitist assumption that 
people aren’t worth much; that’s why 
I’ve always stood for a pluralistic situa- 
tion in which you preserve the oppor- 
tunity for everyone to enjoy a Shake- 
speare play, whether they think they like 

’ Shakespeare or not. You keep that op- 
portunity alive; you can’t just sit back 

‘and have it obliterated by network tele- 
vision, on the assumption that’s all peo- 
ple want.” 

Let’s hope Brustein is right. In New 
Haven, his company was under less pres- 
sure to prove itself commercially viable, 
as well as artistically unassailable, than it 
is here, where Harvard's contribution to 
its operating budget is negligible. (The 
cost of the first season has been pro- 
jected as $1.3 million, with Harvard con- 
tributing perhaps $200,000 — though 
Brustein says that the university’s ante is 
considerably less than that.) But the di- 
rector says he’s not worried. “It’s an odd 
thing to say, when we've just arrived, but 
we have a closer connectign to this com- 


munity than we had with the New Ha- 
ven community — partially because there 
is no New Haven community. It’s hard to 
say what that community is, outside the 
university itself. It was our commitment 
there to develop an organism, and it took 
a long time to nourish it. Part of that de- 
velopment was training people, discov- 
ering new production techniques, new 
plays, finding plays that were worthy of 
production but infrequently done. We 
did that for 13 years, turned 400 people 
out of the school, and did over 90 pro- 
fessional productions. By that time, even 
before that time, it was ready to be 
shown, to become an aspect of the com- 
munity. That’s why it was quite fortui- 
tous that we had the opportunity to come 
here.” To listen to Brustein, Yale simply 
provided the kitchen, and we get to eat 
the cake. 

But the cook will not be pinned down 
as to whether he plans to cater. ‘‘We are 
not starting from scratch here,” he points 
out. ‘‘We know what we’re about. We 
know what works for us, what will be 
popular with audiences and also accepta- 
ble to us as a proud achievement.” In 
other words, Brustein has learned how to 
sell his cake and eat it too. Alvin Ep- 
stein’s dark, lush production of A Mid- 
summer Night’s Dream, enriched by 
Henry Purcell’s score for The Faerie 
Queen, which opens the ART season, is a 
proven crowd- as well as critic-pleaser. 
So is the Michael Feingold adaptation of 
Happy End — to be directed here by Wal- 
ton (The 1940s Radio Hour) Jones — 
which includes such Kurt Weill favorites 
as ‘Surabaya Johnny” and “The Bilbao 
Song.” Terry by Terry, though untried, 
has local color going for it; the play, 
billed as a ‘‘passionate comedy,” is about 
a blocked writer in Cambridge. Its author, 
Mark Leib, is a Harvard as well as a Yale 
Drama School grad. This piece will be 


prodigy, should prove both interesting 


- stein’s. appointment to Harvard evoked 


directed by John Madden and designed 
by Andrew Jackness, who collaborated 
on Arthur Kopit’s Wings (a Yale Rep 
“proud achievement’ that failed com- 
mercially). 

The season’s wild card, as it were, is 
the Peter Sellars production of the classic 
farce The Inspector General. It replaced 
Ivanov in the repertory when Christo- 
pher Walken, who was to have played the 
lead, took a raincheck in order to do a 
movie. The employment of Sellars, a Har- 
vard senior and something of a directing 


and oddly fitting. In the first place, Bru- 


much hue and cry among the students, 
who resented the necessary curtailment 
of their use of the Loeb, and who were 
aware that Brustein had been unpopular 
with undergraduates at Yale. Ironically, 
the Harvard undergraduates are getting a 
great deal of what their Yale counter- 
parts were mad about not getting. There 
is no graduate conservatory here, so it is 
the undergraduates who will be able to 
work with the professional company as 
spear-carriers, literary managers, etc., as 
well as taking performance courses sim- 
ilar to those Brustein developed for 
graduate ‘students at Yale. (His is a novel 
acting program, one that eschews the 
‘master teacher” in favor of a three-step 
curriculum, in which the student moves 
from acting Ibsen and Chekhov, to act- 
ing Shakespeare and the Jacobeans, to 
acting the postmodernists such as Beck- 
ett and Handke.) In any case, the hiring 
of Sellars seems a particularly canny 
move on Brustein’s part. How can un- 
dergraduates complain of lessened op- 
portunities when one of their number is 
offered such a plum? 

Also, questions of his greenness aside, 
Peter Sellars epitomizes Brustein’s own 
attitude toward stodgy, reverential treat- 


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dance floor, a video library, and a six- 
member full-time staff available for tech- 
nical and administrative assistance. 
“Until we came along,” says Anker, 
“to use this kind of equipment you either 
had to be connected to a university like 
MIT or Mass. College of Art, or you had 
to rent it commercially, which is very ex- 
pensive, even literally prohibitive. 
There’s a film called Mission Hill: 
Miracle of Boston, a very, very cheap 
documentary that has taken three years to 
be produced. Some people put it to- 
gether out of their house; they even de- 
veloped film in the basement. It’s been 
shown about five times and was feature- 
reviewed in the Real Paper — this is a film 
that never would -have been possible if 
they hadn't had access to cheap cameras 
and editing equipment. We didn’t exist 
for. most of that production; they said if 


or eight 


thousand dollars it cost.’ Besides taking 
advantage of the equipment resources, 
BF/VF members have the opportunity to 
learn from other artists, both through in- 
formal apprenticeships and in structured 
classes. These range from general courses 
on video documentary and screenwriting 
to intensive workshops on cameraless 
animation, lighting, or setting up a non- 
profit organization. 

To follow the creative process from be- 
ginning to end, BF/VF maintains a busy 
schedule of exhibitions, for which it is 
probably best known around town. (In- 
deed, it’s possible to attend screenings 
there without realizing its function as a 
production center.) The programming 
focuses primarily on Boston-based film 
and video artists, but it also extends to 
avant-garde celebrities and experimental 
artists from other cities, as well as local 
performance artists and punk-rock 
bands. The first series at the MFA in 
1977 featured such notables as Jonas 
Mekas and Yvonne Rainer, and the first 
season at BF/VF included presentations 
by Kenneth Anger, Nam June Paik, and 
Warhol superstar Ondine. Last fall’s 
schedule boasted BF/VF’s most ambi- 
tious line-up to date: 19 events ranging 
from documentary films by D.A. Penne- 
baker and Jan Egleson to lurid, quasi- 
home movies by George Kuchar and 
super-8 reels by punk filmmaker 
Vivienne Dick; from video experiments 
by Betsy Connors and Mary Lucier to 
performances by John Holland’s Text- 
Sound Chorus and Ellen Rothenberg. 

A similar series now in progress will 
run through May and will feature the 
return to Boston of Ken Jacobs (March 
29-30) and Stan Brakhage (April 5); 
Brakhage will be in Boston for a four-day 
blitz, making stops at Center Screen, 
Mass. College of Art, and the Museum 
School as well as BF/VF. The spring 
series also includes a rare appearance by 
mad genius Jack (Flaming Creatures) 
Smith (April 19 and 20) and a perform- 
ance by monologist Spalding Gray *(see 
interview on page 5). As it did last year, 
BF/VF will host some of the activities in 
Mass. College of Art’s annual Event- 
works festival. 

And a recently-inaugurated Friday- 
night program of rock bands and B- 
movies will continue indefinitely. ‘‘Red 
Alert,” as it is called, is the brainstorm of 
an energetic young woman named Kathe 
Izzo, whom BF/VF staffers mock- 
earnestly call their “liaison to the punk 
community.” Izzo’s brains, connections, 
and guerrilla publicity tactics (as well as 
the closings of several local punk 
nighteries) have made 


hugely popular — ggych so, Izzo notes 
bemusedly, that’ the staff has been 

“having all these theoretical meetings to 
discuss whether it’s good for BF/VF.” 
Apparently, the mess and potential row- 
diness of 200-plus crowds has so far been 
outweighed by the publicity and income 
“Red Alert’ has generated. 

The lion’s share of BF/VF’s revenues 
comes from membership fees and govern- 
ment grants; last year the NEA provided 
$30,000 and the Mass. Council on the 
Arts and Humanities $10,000. (BF/VF is 
one of fewer than two dozen Media Arts 
Centers in the country funded as such by 
the NEA.) Like many heavily subsidized 
organizations, BF/VF is relatively free of 
pressures for big box office, though it 
can’t afford to be totally unmindful of its 
audience. ‘If we only had exhibits where 
we paid $200 to artists to come and work 
and got only 25 people consistently, we’d 
have to worry about it. To that extent, 
we're tied to the gate,” says Anker. “On 
the other hand, if we were consistently 
getting 100-150 people, that wouldn't be 
desirable either, because sometimes an in- 
timate experience is desirable, even 
though having 100 appreciative people 
might be exciting. In any case, small 
audiences have never been an issue for 
the artist. Most people understand why 
we have to support shows that run the 
risk of bringing in only 20 people.” 

Nonetheless, the center is looking for 
ways to become less dependent on sub- 
sidies; as staff member Bob Raymond 
says bluntly, ‘The days of grants are 
over. The social programs aren’t there 
anymore, and people are less willing to 
give money to institutions. So one thing 
we can do is siphon money from founda- 
tions by sponsoring artist-in-residency 
programs. Most non-profit organiza- 
tions that serve as conduits for grant 
money take 30-40 percent for overhead; 
we take five to ten percent. It’s small, but 
it is a source of income. We're also 
looking toward more community-service 
projects. There are a lot of people who 
would like to see the place open up to 
young kids to come and learn things, so 
we're trying to find some mechanism for 
that to happen.” Last spring BF/VF spon- 
sored a rape-prevention program, 
“Topic: Rape,” which was shown in 
various neighborhoods with legal and 
medical experts on hand for discussions. 
There is some talk now about presenting 
such community-responsive political 
forums on a regular basis to initiate a dia- 
logue on issues like nuclear power, femi- 
nism, and gay-community concerns. 

* * * 

Media equipment resource centers 
similar to BF/VF exist in other cities, and 
Boster hasother exhibition’ outlets-and: 


community-oriented arts programs, But. , 
few organizations attempt to combine all 
three functions, and BF/VF’s biggest 
problem is trying to deal with so many 
different needs. ‘‘Our eagerness to sup- 
port anything that comes down the pike 
sometimes stretches the limits,” Anker 
admits. ‘One of our ambitions is some- 
day to have a regular theater capable of 
running five days a week as well as a 
studio and an artists’ residence. Right 
now we're limited to two or three nights a 
week for exhibition because we can’t 
have shows when people are working or 
conducting seminars. People who have 
day jobs complain when they can’t use 
the equipment at night, and there is a 
minimum amount of production activity 
needed to support the exhibitions.’’ Ex- 
pansion is inevitable, but so is frustra- 
tion. “Last year when we did a few rock 
concerts for the first time, I got 30 calls 
the next week from bands wanting to 
play here. They're desperate for places to 
play. Until other venues crop up, BE/VE 
has to do all these things.” 

Under the circumstances, it’s eondatel 
able that BF/VF functions as well as it 
does. It is the only organization in Bos- 
ton that provides a forum for the exhibi- 
tion and discussion of video, an art form 
still in the process of being defined. It 
embraces the presentation of perform- 
ance art because such mixed-media work 
incorporates some of the most exciting 
experimentation going on in the art 
world. And perhaps what is most extra- 
ordinary is that the organization operates 
as a true collective, sharing labor and 
means yet preserving an atmosphere con- 
ducive to artistic individuality. In other 
words, it manages to avoid the seemingly 
inevitable clash of political ideology and 
artistic temperament. “BF/VF has to 
satisfy so many needs, it couldn’t sur- 
vive if it tried to preach one thing, es- 
pecially a political line,’ says Anker. 
“Artists coming through have been 
bowled over by this kind of communal, 
‘up’ energy. They're so used to working 
on their own that it takes a lot of time for 
some to relax; they don’t believe they can 
come in and actually make themselves at 
home. I know I had that problem myself. 
But once you know what you want and 
are willing to take the initiative, you can 
accomplish a lot, because all the sup- 
porting energy is there. Everybody feels 
their identity is involved in everything 
that goes on, so if a show comes in — say, 
some weird performance thing from New 
York that needs three slide projectors and 
two monitors — suddenly, I'll have tech- 
nicians running around for four hours 
plugging things in and finding out where 
to get the additional stuff. That's the way 
the place is.” € 


O86! ‘LL HOUWW NOILOSS ‘XINJOHd NOLSO@ SHL 


ment of the classics. In his famous essay, 
“‘No More Masterpieces,’ he railed 
against definitive, museumy mountings 
of the great plays, suggesting instead that 
each new production be considered a ‘‘di- 
rectorial essay” on the original. Peter Sel- 
lars’s prior work at Harvard includes 
such directorial essays as King Lear in a 
Lincoln Continental and Antony and 
Cleopatra in a dormitory swimming pool. 
No doubt his Inspector General will 
shake up traditionalists in the academic 
community. Brustein regards this as in- 
evitable. “I gave a talk last year to the 
Choate Club,’’ he recalls, “‘and one vig- 
orous Harvard undergraduate told me he 
didn’t think Shakespeare should ever be 
done except as he was done at the Globe. 
It’s bad enough when people want it done 
a la 19th-century, which is the way most 
people think Shakespeare should be 
done.” 

Not one to aim low, Brustein’s model 
for the ART is, believe it or not, the Roy- 
al Shakespeare Company — or so he told 
the Providence Journal. ‘1 was think- 
ing,” he explains, ‘‘not of the tourist at- 
traction at Stratford but of what the RSC 
does at the Aldwich in London, both with 
Shakespeare and with other classics, and 
with the new plays they evolve. In other 
words, the idea is to emulate the struc- 
ture of a theater that does both classics 
and contemporary plays. The contem- 
porary plays influence the way they do 
the classics, and vice versa. When Peter 
Brook, for example, was at the RSC, the 
kind of work he did, say, on theater of 
cruelty influenced the kind of work he 
did on A Midsummer Night’s Dream and 
King Lear. It’s a very good way for a 
theater to evolve, especially good for the 
actors because it keeps them alive and 
contemporary, not academic and stiff and 
conventional. Which is the tendency with 
some strictly classical companies. At the 


same time, theaters that simply do new 
plays lose their touch with tradition. And 
they even lose their companies, because 
each new play requires a completely dif- 
ferent set of actors. And the tendency is 
simply to typecast those new plays.” 

Brustein is having none of that, you 
can be sure. He is a passionate advocate 
of repertory and the permanent com- 
pany — though he is not above jobbing in 
such celebrated Yale Rep veterans as 
Walken and Meryl Streep, if they will 
deign to appear with the ART. (He seems 
quite surprised, however, at the sugges- 
tion that these people are stars, and balks 
at the implication that he is in the 
business of hiring stars. “I certainly 
didn’t mean to tantalize you with the 
mention of names,’ he says. ‘Meryl 
happens to be a very good actress and 
also to be a star, which is liable to be a 
handicap for her.” Brustein denies that he 
will try to boost ART revenues by book- 
ing The Fonz and The White Shadow, 
even if they did go to the Yale Drama 
School.) 

In Brustein’s view, it is ‘the country’s 
60-odd resident theaters that provide 
“our only hope for an American national 
theater. It’s the only situation where peo- 
ple grow together and develop a har- 
monious style and vocabulary.” The 
director has in recent years made himself 
somewhat unpopular his public 
frowning on the uneasy alliance that has 
sprung up between Broadway and the 
non-profit theaters, both regional and 
Off Broadway. More and more commer- 
cial productions, it seems, are originating 
in non-commercial settings, then going 
on to great success in the marketplace and 
subsidizing their parent companies. The 
most famous example, of course, is A 
Chorus Line, which has been supporting 
Joe Papp’s Public Theater for five years 
now. “I think the quality of aspiration 


has lowered considerably,” says Bru- 
stein, “like the temperature of the samo- 
var in Uncle Vanya, as a result of the op- 
portunity Broadway now offers for com- 
panies to increase their royalties. 

“The interesting new development is 
that the Long Wharf in New Haven, the 
Mark Taper Forum in Los Angeles, and — 
the Guthrie in Minneapolis have joined 
forces to create an Off Broadway New 
York theater; they're going to be show- 
casing in New York directly, eliminating 
the middle-man, as it were. The Taper 
and the Long Wharf don’t have com- 
panies anymore; all they have are shows. 
That is one of the things that has hap- 
pened as a result of this alliance. Once 
you send your production to New York, 
you don’t have anyone left at home. 
That’s what I think is deadly; it takes 
away the whole basis and foundation of 
the non-profit theater. To play in reper- 
tory is the thing that keeps us honest. 
You can’t pull anything out.’’ But 
wouldn’t he be tempted, I wondered, if 
the ART had a potential Chorus Line on 
its hands, a show that could support its 
starving playwrights for years to come? 
“No,” Brustein replies flatly. “I worry 


‘about my own corruptibility, and it’s 


very easy to yield to this. All the material 
comforts for a theater are provided by it. 
But I think that, if a community can’t 
support a theater, with the help of exter- 
nal sources such as the private founda- 
tions and the government, then it doesn’t 
deserve to survive.” 

Brave words from a man about to 
launch a serious professional theater in a 
community starved for serious profes- 
sional theater but heretofore unwilling to 
fork out sufficient money or commit- 
ment. But Brustein, benign as he seems 
just now, is a brave fellow. He routinely 
twits the foundations, the government, 
and other grant-givers for their populist 


approach to arts-funding — despite that 
his theater is dependent on them for sur- 
vival. And if that’s not proof enough of 
his courage, Brustein, a former actor as 
well as director, critic, and culture- 
watcher, will be making his Cambridge 
debut with the ART — as Theseus in A 
Midsummer Night’s Dream. Isn't that 
asking for it? Brustein just smiles. ‘‘I’ve 
been asking for it all my life,” he replies. 

True enough. And we, in turn, have 
been asking, clamoring, for Brustein. He 
has been treated in the media, since his 
appointment, as a sort of cultural messi- 
ah. He himself hints that his company is 
capable of rejuvenating the entire 
Boston/Cambridge theater scene, simply 
by providing a standard of excellence. 
‘Good theater breeds good theater,” he 
says. 

Still, the ART’s situation in Cam- 
bridge will be different, in a number of 
ways, from the one it left behind. New 
Haven could look to the Long Wharf for 
serious consumer theater, freeing Bru- 
stein and company to be as seminal as 
they pleased. (And there is nothing Bru- 
stein deplores more, he says, than ‘‘mid- 
dle-seriousness’”’ — i.e. The Elephant 
Man.) Ina sense, he is being asked here to 
be both our Yale Rep and our Long 
Wharf. Does the pressure make him ner- 
vous? ‘‘No.”” Does he fear media back- 
lash? ‘‘Oh, I’m certain it will come, but — 
here goes my arrogance — I really feel we 
can satisfy the expectations.” 

As a cultural messiah, Brustein is de- 
cidedly low on humility but high on prin- 
ciple and promise. He may — and he may 
not — perform miracles. I, for one, will 
settle for a few loaves and fishes — in the 
form of some good, solid, intelligent 
theater. For the raising of Lazarus, the _ 
breathing of life into our moribund thea- 
ter scene, I’m willing to wait. After all, 
life is brief but ART is long. ® 


> 
cas 
— 
& 
# 
‘ 
i 


4 


THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


Sissy sings Loretta 


Marriage country-style 


Sissy Spacek as Loretta Lynn 


by Stephen Schiff 


COAL MINER’S DAUGHTER. Directed by Michael 
Apted. Written by Tom Rickman, from the autobiog- 
raphy of Loretta Lynn, with George Vecsey. Photogra- 
phy by Ralf D. Bode. With Sissy Spacek, Tommy Lee 
Jones, Levon Helm, Beverly D’Angelo, and Phyllis: 
Boyens. At the Pi Alley and in the suburbs. 

ilmmakers scarcely know how to make movies 
FE about happy marriages any more — and no won- 

der. The tie that binds has come to be regarded as a 
Peculiar Institution, as slavery was in the ante-bellum 
South: an archaic system that probably ought to be abol- 
ished. Where are the Nick and Nora Charleses of the 
‘80s, the Irene Dunnes and Cary Grants? For a long time, 
people have thought of marriage as the Big Blunder, the 
one your parents made and didn’t learn from — the one 
everybody makes, and regrets, sooner or later. It’s an ata- 
vistic curse, a relic from a dark, unliberated past. On the 
cover of a recent Village Voice, for instance, a woman 
named Elizabeth Stone makes a startling confession: she 
is a feminist, and yet — she has wed! Stone discusses her 
marriage with the detached curiosity of a valiant re- 
searcher performing some hideous experiment on her- 
self, and her article reads like a revelation of strange and 


unspeakable practices: ‘I Made Love With a Seagull — 
And Lived!’’ Though movies often end with happily- 
ever-after marriages, they’re never about them. And in 
fact, it’s hard not to make a celebration of marriage seem 
corny. Look at a recent attempt called The Last Married 


Couple in America. There, everyone ties himself in knots 


trying to be with-it and urbane, and, in the end, none of 
the actors bears even the vaguest resemblance to a hu- 


_ man being: George Segal yowls and Natalie Wood moos, 


and Richard Benjamin's head keeps springing into the air 
like a champagne cork. 

Of course, Tolstoy had a point: all happy families are 
alike, and so who wants to see a movie about them? But 
by now the sexual alternatives of the late ‘60s and early 
‘70s have lost their luster: swinging and swapping are 
going the way of communes, leisure suits, and $35-an- 
ounce gold. Marriage is enjoying a resurgence — or, at 
least, no one is predicting its imminent demise. And be- 
cause it is returning, like a prodigal son, to a somewhat 
altered social landscape, we need movies about happy 
marriages. We've seen Blume in Love, Scenes From a 
Marriage, Kramer vs. Kramer. We know the stages of 

: Continued on page 14 


work on several levels, but the one on which it 

has to work is that of authenticity. Obviously, a 
glamorized vetsion of Loretta Lynn’s life, dressed up 
for the camera, would prove convincing to no one and 
would sacrifice the strengths of the story from which it 
draws. This, it was clear from a recent New York 
promotional appearance (by director Michael Apted, 
actors Sissy Spacek and Tommy Lee Jones, and Loretta 
Lynn herself), was very much a concern in its making. 
Coal Miner’s Daughter faithfully re-creates the am- 
biagce of Lynn’s 1976 autobiography, a plain-spoken 
document of courage, simplicity, and humor. 

And yet ambiguities necessarily creep in. In the 
book, Loretta’s ambition is very much clouded over 
(‘The singing career was Doolittle’s idea’’), and Doo- 
little’s role (he is far from a model husband) is by no 
means clear. The movie, as the tall, surprisingly candid 
director Michael Apted points out, is a love story: 
‘the story of two people trying to hold something 
together. That is the whole spifie and shape of the 
film.” This is all very well in terms of providing a focus 
to the material, and it may even be true to some aspects 
of these lives, but it creates a romantic, upbeat aura that 
is definitely at odds with my impression of the book. 
Apted, too, feels that the film — like the book — does 
skirt the question of the-star’s ambition. ‘I.don’t be- 
lieve for a moment that it’s all Doolittle,” he says. 


s oal Miner’s Daughter is a movie that seeks to 


sibility for her success. But she must have wanted it. No 
one has done what she’s done without wanting to be 
successful.” Nonetheless, the film perpetuates Lor- 
etta’s view by building up Doolittle’s role. 

For Loretta Lynn, the one part of the movie that 
doesn’t ring true is the portrait of country singer Patsy 
Cline, Loretta’s idol and first friend in Nashville, who, 
in the portrayal of Beverly D’Angelo, is one of the more 
vivid supporting characters in the film. Sophisticated, 
self-possessed, tough-talking but with a heart of gold, 
Patsy Cline is the very antithesis of Loretta at this stage 
in her career, and in fact Loretta is practically worship- 


And now, the real McCoy 


“Loretta has always seemed unwilling to take respon- - 


“is one scene, for example, in which Patsy Cline and Lor- 


_ ful (as she remains to this day in talking about Patsy) beyond. 


] 


when she visits Patsy in the hospital for their first meet- 
ing. In the movie, Patsy is drinking beer, and this is 
what Loretta objects to — vociferously, in fact. ‘Well, it 
wasn’t true. It wasn’t in the book. They knew that, but 
that’s the way they set the scene up. That's just a-scene 
that wasn’t true.’ Michael Apted, who takes a some- 
what longer historical view, says, “We had- this prob- 
lem all the way through. Loretta was always on about it. 
The problem is, Loretta thinks you are in a sense dump- 
ing on the image of Patsy Cline and being disrespectful © 
towards her. She can’t distinguish between telling the 
truth about someone and keeping some legend.” 

Other areas are passed over as well. Loretta’s break- 
down (‘I wanted to sleep; I didn’t want to wake up. So 
I'd comé off stage, I’d take my nerve pills, and I'd sleep 
until just before my next show, get my hair fixed, put 
my makeup on, do my show, sign my autographs, and 
go back to bed’’) is done too cursorily. Her children — 
and the problems of being a mother and a country- 
music star at the same time — are virtually absent. Pro- 
fessionally, her association with the Wilburn Brothers, 
who started her out on the road and published her 
songs, and their eventual parting in a welter of law suits 
and countersuits, is not even alluded to. There are other 
omissions, major and minor. But perhaps they can be | 
excused, because, as Loretta says, “How you going to 
put all your problems over 30 years in just two hours of 
film?’ 

Yet there is respect for the music here, and for the 
feel of the material. I think what exemplifies the movie 
best is that even where business is invented you are 
prone to believe that it is drawn whole from life. There 


etta sing at a fairground. It is pouring, and the audi-_ 
ence stands patiently in the rain while both women hold 
up umbrellas. The image seems perfect somehow, but it 
turns out to be an accident of shooting — they had the 
crowd, they had the location, and it started to rain. 
This, it appears to me, says more about authenticity 
than all the “authentic” details in the world, By being 
true to the spirit of an occasion, art takes reality a step 


lrailers 


FATSO 


atso, which marks Anne Bancroft’s debut as a 
EF writer and director, has the look and feel of a home 

movie: the film is grainy and overexposed, the sub- 
jects mug shamelessly, the camera either wanders ner- 
vously or sinks into a torpor, and the dialogue drifts in 
and out of audibility. In fact, maybe Fatso is supposed to 
seem like a home movie: this send-up of overbearing, 
overemotional, over-religious, and overfed Italian-Amer- 
ican families is apparently drawn from Bancroft’s own 
(she was born Anna Maria Louise Italiano in the Bronx, 
although the film is set in a present-day but somewhat 
mythical Greenwich Village). 

In Bancroft’s surrogate family, bachelor brothers Dom 
and Frank DiNapoli (Dom DeLuise and Ron Carey) 
share the top apartment of a Bleecker Street townhouse, 
while sister Antoinette (Bancroft) occupies the ground 
floor with her husband and kids. The three are so vola- 
tile that they can run the emotional gamut in a matter of 
minutes. They chase one another around the house with 
kitchen knives, pummel birthday cakes, explode into 
exuberant tarantellas, and, at a funeral, scream at the 
corpse — the movie is like a warped, speeded-up version 
of verismo opera. What motivates the hysteria is food: in 
the DiNapoli household, the Italian imperative 
“mangia!’’ meets its nemesis in the American obsession 
with weight loss. The focus is on the cheerfully chubby 
Dom, who, at the behest of his sister, embarks on a sort 
of fool’s odyssey that takes him to trendy East-Side diet 
doctors and mutual-support groups (in this case, a so- 
ciety called Chubby Checkers, whose program owes 
more to AA than to Weight Watchers). 

The food in this film is photographed and discussed 
with a pornographic sleaziness that would make a 
Gourmet editor cringe — and this seems apt. But Fatso 
really doesn’t tell us much about compulsive behavior — 
the equation of food with hunger for love is too facile, 
the love-me-as-I-am conclusion hardly novel. Still, 
there’s a gentle lunacy to the whole thing that shows 
where Bancroft’s heart is. As once was said of Carole 
Lombard, Bancroft’s talents may not be of the highest 
caliber, but her spirits are, and in this rather sweet, brain- 
less film, she turns earthy warmth into a cinematic vir- 
tue. At the Pi Alley, the Allston, and in the suburbs. 

Alan Stern 


BRITISH ANIMATION 


xcept for the United States, most major anima- 
E tion-producing countries present certain charac- 
teristics, a definite look, to the world. Some of the 
reasons are obvious: major studios, film schools, or pro- 
ducers with well defined traditions, tastes, and interests. 
But there are other reasons, too: subtler national and cul- 
tural influences that hover at the edges of the frame. 
In the case of Center Screen’s British Animation Pro- 
gram, the 19th-century English tradition of book illus- 
tration — Beardsley especially — is still at work, influ- 
encing shorts remarkable for their studied neatness of 
drawing, modulations of shading, and allusions to the art 
and artists of the fin de siecle. Countering this decadent 
dreaminess is another spirit: mod, urban, raucous, and 


aggressive; part Carnaby Street, part Orwellian indict- 


ment. And, caught between the trendiness and the nos- 
talgia is an even hoarier tradition: the famed British sense 
of humor. 

British animators have an almost maddening talent for 


‘imitation. Maddening because you feel the prowess they 


reveal could be put to more creative use than dressing up 


.the window displays of London’s museums. Tony 


White’s “Hokusai: An Animated Sketchbook’ neatly 
sets the Japanese master’s sketches in motion, accom- 
panied by a narration that’s part art appreciation, part 
quotes from the artist’s writings. Geoff Dunbar pays 
similar tribute to ‘‘Lautrec,” although with a dash more 
humor, playing on our familiarity with the painter’s leg- 
end. Both films are very beautiful and a pleasure to 
watch, but their reproductions only make you hunger for 
the originals. 

Dunbar’s turn-of-the-century Francophilism reaches 
its height — or depth — in “Ubu,” an adaptation of Al- 
fred Jarry’s proto-punk masterpiece. In one of the most 
outrageous adolescent assaults on the Sanctity of Art, 
Jarry puts his characters, Ma and Pa Ubu, through a 
Macbeth-like saga with a ferocious glee. Dunbar’s draw- 
ings and backgrounds are appropriately grotesque and 
primitive. Juxtaposing Jarry’s own caricatures with sim- 
ple, lurid splotches of red and black, the film captures 
something of Wbu’s raw vitality, despite Dunbar’s rather 
awkward literalness. In a more pop vein, Chris James’s 
“About Face” moves carefully studied portraits of cult 
heroes — Mao, David Bowie, Dali, Wilde, Lord Alfred 
Douglas, Hitler, and Mick Jagger — across a surrealis- 
tically ambiguous landscape. The drawing is superb here, 
but there’s nothing between the lines. 

British animation’s other flamboyant style leaves noth- 
ing to the imagination. In fact, literalness and a heavy lit- 
erary bias are piled as thick as the traffic in Derek Phil- 
lips’s ‘Losers’ Club,” Beeza,”” and Andy Walker's 
“Too Much Monkey Business.” The themes of over- 
population, pollution, propaganda, and pressure are cha- 
otically represented by stacks of skyscrapers, sprawling 
suburbs and slums, and lines of anonymous people 
choking the streets, gardens, and cemeteries. 

In these films, gaudy colors, slick technique, glib 
voice-overs, and music-hall-style comic speeches and 
music put an ironically bright face on a defeatist mood 
that’s just one step removed from the Sex Pistols’ Pretty 
Vacant. Rarely have animation screens been so cluttered 
with sheer junk — H.G. Wells gimcracks, dinky toy ma- 


Continued on page 12 


po 
| 
: 


life 
art 
Gray's anatomy 


by Don Shewey 


biographical work has placed him in the forefront of 

contemporary experimental theater — though he is 
little known, and rarely performs, outside New York. 
India & After (America), which Gray will present Satur- 
day, March 15, at the Boston Film/Video Foundation, is 
one of a series of monologues called 3 x Gray — the 
others are Sex and Death to the Age 14 and Booze, Cars, 
and College Girls — which simply recount incidents from 
various stages of his life, a life unusual only in its having 
been so thoroughly examined. These monologues grew 
out of a trilogy of more elaborate but equally personal 
theater pieces called Three Places in Rhode Island, 
created over a period of four years’in collaboration with 
director Elizabeth LeCompte and a company of actors 
who, like Gray and LeCompte, are veterans of Richard 
Schechner’s Performance Group. Like 3 x Gray, Three 
Places surveys Gray's childhood, adolescence, and 
maturity, focusing on vivid and often comic details, both 
mundane and profound — the most profound being those 
relating to his mother’s suicide in 1967. In each of these 
pieces, Gray serves as both the actor and the material, 
dealing directly and overtly with the kind of autobio- 
graphical concerns that even related avant-garde artists 
like Meredith Monk, Robert Wilson, and Richard Fore- 
man feel compelled to disguise or make oblique. ‘This is 
as big and important a current in the art of acting as was 
the development of motivational technique, and the 
notion of the Brechtian or ‘epic’ performance,’”’ Lee 
Breuer, director of the experimental theater troupe, 
Mabou Mines, has declared. ‘‘In other words, this is the 
third new idea about acting in this century.” 

Gray acknowledges that the impulse for his personal 
theater came from his work with Schechner. Schechner 
propounded a theory of acting in which the performer 
remains himself or herself at all times, while doing a 
series of actions associated with a character — instead of 
becoming the character. Schechner’s equal emphasis on 
text and actor made him unpopular with playwrights and 

-icritics, but many actors, including Gray, found the 
approach liberating. Ironically, this freedom led Gray to 
question the idea of playing a role — a fictional character 
— at all. Stepping away from the Performance Group, he 
began experimenting with a process of free association, 
using props and improvising with other actors, which led 
to the creation of Sakonnet Point, an almost wordless 
evocation of his childhood, which became the first sec- 
tion of Three Places in Rhode Island. Gray found that by 


L: the last few years, Spalding Gray's explicitly auto- 


incorporating the reactions of the other actors, and by ,_, 


allowing LeCompte to edit the work and provide a visual 
framework for it, he was able to transform personal 
material into art without descending into self-indulgent 
confessionalism. The Gray-LeCompte trilogy began as an 


Theafré — 


Spalding Gray 


experiment. But its careful exploration of volatile emo- 
tional issues (suicide, madness, religion, family, art) and 
its imaginative use of film, dance, music, child actors, 
and non-linear texts made it one of the most impressive 
and innovative theater events of the ‘70s. 

Just as Gray left Schechner’s Performance Group 
because he felt uncomfortable playing roles, he switched 
from collaborating to performing solo in an effort to be 
“more expressive’ — though this step didn’t present 
itself automatically. ‘When I was in Santa Cruz teaching 
at the University of California in the summer of 1978,” 
said Gray when I spoke to him recently at the Soho loft 
he shares with LeCompte, “I took a course in the 
philosophy of emotions with a woman from Princeton. 
We became very close and took long watks and talked 
often about my work. I’d done these very personal 
pieces, and I didn’t know where to go next; plus, I had 
this chronic feeling of.impending nuclear destruction... 
She suggested the way to deal with my doomsday 
feelings was to remember that the most creative people 
who were still operating when Rome was going under 
were the chroniclers. That rang a lot of bells in me. I 


wanted to chronicle what I deeply felt was the decline of 
the white middle-class world as we'd known it. To write 
it down would be presuming there was a history that 
would survive on the printed page, so I wanted to, do 
something immediate. I thought I’d take a period of my 
life and recount it as simply as possible before an 
audience. That’s how Sex and Death to the Age 14 
began. 

“I began to realize,’ Gray continued, “that I was ques- 
tioning the whole reason for metaphor in my life. We 
worked so heavily on metaphor in Three Places to some- 
how uplift the work and take it beyond the self-indul- 
gent state, to make it into Art. But what would happen if 
I simply reported a series of events that I remembered? 
So I sat down and did this thing, and it was about 45 
minutes long. Each night new material would come to me 
through memory, through my imaginative film of the 
past, through free association — this was, of course, the 
psychoanalytic process. I’d been interested in psycho- 
analysis for years, in the idea that one is simply recon- 
structing the puzzle of one’s life in front of another 
person, and that person gives one permission to verbally 
recreate a whole new world and to accept that world. But 
I trusted the performance process more because I had a 
community of people — anywhere from 30 to 150 — to 
share the experience rather than one psychoanalyst. 
Actually, it was reverse psychoanalysis: the audience 
would be my witness and pay.” 

The way Gray vacillates between professorial earnest- 
ness and deadpan humor is charming, and charm is an 
incalculably valuable dynamic in his performance. In Sex 
and Death and Booze, etc., for example, Gray sits down 
behind a small-desk and begins to spin out a series of of f- 
handed anecdotes, skipping from one to the next with- 
out regard for chronology or coherence. His manner is 
composed.and friendly; he knows what might be funny 
but doesn’t lean on one-liners ot overplay big scenes. His 
unfaltering matter-of-factness makes him an expert 
raconteur; the individual stories may seem roundabout 
and unrelated, but when he’s done, Gray has mapped 
out, with surprising clarity, an entire personal land- 
scape. His reminiscences of funerals for pets and his 
mother’s method of scrubbing his infant foreskin or his 
tales of borderline-alcoholic antics make these pieces 
memorable and frequently uproarious, almost too up- 
roarious to suit Gray. ““A funny thing happened after a 
while, which I am still conflicted about. The performer in 


me took over and began to edit and play these pieces. I. 


felt I was pandering to the audience; I’d learned to 
manipulate their responses. At this point I’d rather print 
them up and publish them rather than do them over and 
over. 

India & After (America) is quite different from the 
other two monologues in form, content, and relation- 
ship to the audience. It deals not with the halcyon days of 


youth but with the period during which Gray traveled to’ 


India with the Performance Group, stayed on to study 
with a guru, returned to the States, and suffered a ner- 
vous breakdown partly induced by a previously-undiag- 
nosed hypoglycemia. Most intriguingly, Gray’s recollec- 
tions are structured from the outside; an actress named 
Meghan Ellenberger sits nearby, picks words at random 
out of a dictionary, and gives Gray a time limit within 
which to free associate. ‘I found with Sex and Death 
that, because of the distance on that age, the memory 


~-CaMGuie-Cut-up time. But I couldn't figure out how to get 


India & After into that form. When I first did it, it was 


one long boring travelogue — boring for me — with all . 


these psychological bridges: ‘I did this because that; in 
Continued on page 14 


0861 ‘LL HOUVW NOILOAS ‘XINZOHd NOLSOG SHL 


The broken china syndrome 


by John Engstrom 


WINDFALL by Maxine Klein. Music by James 
Oestereich. Directed by Maxine Klein. Set designed by 
Michael Anania. Lighting by John Polglase. Costumes 
and choreography by David Carl Olson. With James 


Oestereich, Ellen Field, Sidney Atwood, Judith Black, - 


Gerard Hirsch, David Carl Olson, Kathryn Pintar, and 
Bill Johnson. Presented by Little Flags at the Boston Cen- 
ter for the Arts, Thursdays through Saturdays through 
April 19. 


indfall, you might say, is the theatrical 
Wises of reading Das Kapital while inhal- 

ing laughing gas. This ‘‘political’’ musical, with 
book and lyrics by Maxine Klein, makes its points 
without hectoring the audience. The characters are all, 
with the exception of some “‘evil’’ corporate executives, 
like the animals in a Walt Disney film — cute, jolly, and 
full of friskiness. And the politics of the piece, which are 
a sort of half-baked Marxism, would not offend a child. 
But therein lies the show’s weakness. It’s not supposed to 
be innocuous; it’s a political play, intended to jolt people. 
people. 

Oddly, for most of its first hour, Windfall eschews 
politics, focusing instead on its three raffish central char- 
acters. Lyle (James Oestereich), a paunchy, middle-aged 
trumpet/piano player in a saloon, is prone to spectacular 
losses at gambling; Biddie (Ellen Field) is, as her name so 
subtly suggests, a 63-year-old, hard-drinking, foul- 
mouthed woman who has never been able to hold a job; 
Scoop (Sidney Atwood), the youngest of the three, is a 
garage manager and former factory worker who has lost 
his left arm in an assembly-line accident. These three are 
nightly habitues of the Barrelhouse Tavern (located, ap- 
parently, in Boston) where, aided by a tough-cookie bar- 
tender named Dottie (Judith Black), they drink them- 
selves under the table, all the while regaling one another 
with obscenities and far-fetched money-making 
schemes. 


So the first half of Windfall combines the low comedy 
of The Three Stooges with the boozy good humor of The 
Time of Your Life, relying more on textural variety than 
on plot to sustain our attention. Politics — or Klein’s 
simplified version of it — rears its head only oc- 
casionally, in such song lyrics as, ‘‘There are only two 
classes of people,/Those who own and those who work 
for them.” Still, for the most part, the focus is on these 
colorful boozers and, in particular, on Biddie’s fitful at- 
tempts to find employment. (In one funny episode, she 
applies for a job in a funeral parlor, where she is inter- 
viewed by an “automatic hire clerk.” “What was your 
last job?” the machine queries. “I was a gun-runner for 
the Apaches,” she deadpans. “Why did you leave?’ 
“They turned it into a Civil Service appointment.”) ~ 

Thus far, Windfall is amiable enough, sustained by the 
performers rather than the material. As Lyle, Oestereich 
manages to be both boyish and seedy; Ellen Field plays 
Biddie like a coquettish Sherman tank; Sidney Atwood, 
as Scoop, strikes forceful notes of anger and bitterness. 
On the other hand, Oestereich’s music, though pleasant, 
tends to evaporate the moment it’s heard; and Klein’s 
lyrics, while rarely worse than Biddie’s ‘I’m too old to 
snag a feller,/The garbage is my Bonwit Teller,” are sel- 
dom much better. Moreover, we can’t help wondering, 
through all the meandering songs and jokes and anec- 
dotes, when the show will find its focus. 

Alas, it finds it in Act Two, when Lyle and Scoop are 
laid off to make room for automation. Desperate for 
cash, Lyle agrees to participate (with Scoop and Biddie) 
in a shady deal involving the disposal of hundreds of gal- 
lons of chemical waste. However, when the trio arrive at 
the scene of the dump, they are appalled to discover that 
it is not only highly radioactive, having previously 
served the same dark purpose, but that it is also adjacent 
to the proposed site of a nursing home. Naturally, they 
dash back to the Barrelhead, where they begin a frantic 
campaign to ‘‘outlaw the dumping.” Faster than you can 


say “Three Mile Island,” The Three Stooges has become 
The China Syndrome. Scoop appeals to his older brother, 
afi Allied Chemical executive, to put a halt to the nurs- 
ing-home construction; but the brother, it turns out, is 
indifferent. Need I add that he is portrayed as utterly 


despicable, concerned only with profit and self-advance- . 


ment? Or did you already know that all executives are 
soulless, heartless ogres? 

In the last scene, Lyle croons a ballad called “Even a 
Bum Like Me,” the gist of which is: stop nuclear expan- 
sion, save our children, etc. Thus inspired, Dottie the 
barmaid dashes to phone the Sierra Club, while Scoop 
lurches off .to contact his union. Then the cast launches 
into a Latinate number, complete with maracas and cas- 
tanets, entitled ‘“Take It to the People.”’ 

What to make of it all? Despite its earnest liberal sen- 
timents, the show does not begin to suggest solutions to 
the important problems it poses. (Believe me, I do not 
mean to make light of the issues, just of the Disney- 
esque treatment.) Instead, it collapses into a heap of left- 


wing slogans that will persuade none but the already- - 


convinced. As for the concept of “political theater,’’ I 
begin to suspect, watching Windfall, that, as Fran 
Lebowitz says of ‘‘educational television” and ‘‘designer 
jeans,” the two words really do not belong together. 


Cowboys lobsters 


by John Engstrom 


COWBOY MOUTH by Sam Shepard and Patti Smith. 
Directed by Maggie Topkis. Set by Jonathan Lemkin. 
Lighting by Elizabeth Harris. With Martin Davies, 
Margaret Frank, and Ashley Rountree. Presented by the 
Harvard/Radcliffe Dramatic Club at the Loeb Experi- 
mental Theater. (Closed.) 


owboy Mouth, according to the credits scrawled 
in white paint on the walls of the Loeb Experi- 
mental Theater, where the one-act play was re- 


- cently performed by students, was written by Sam Shep- 


ard and Patti Smith. It is also, as we know, an autobio- 
Continued on page 12 


3 
q 


SECTION THREE, MARCH 11, 1980 


x 
Ww 
a 
Oo 
” 
a 
= 


Music 


new wave 


It’s not just 
in her hair 


by Kit Rachlis 


How many LA rock stars does it take to make a new- 
wave album? Five — one to make the record and four 
to write a letter to Rolling Stone insisting the singer has 
always been into new wave. The punchlines and the 
headlines are coming already — Linda Ronstadt has gone 
new wave. You've got to admit there’s a lot of People 
magazine- Tonight Show potential here: rich but rebuked 
rockers speaking about new wave in the same Angst- 
ridden, breathy tones that Hollywood stars once reserved 
for Method acting — how it opened up their lives, how 
they never understood what rock ‘n’ roll was really about 
until they discovered new wave. And, of course, these 
italicized confessions will be answered by backroom 
giggles and not-so-well-disguised smirks. When Ron-_ 
stadt decided to include three Elvis Costello songs and 
three by an unknown, Mark Goldenberg, the leader of a 
LA band called the Cretones — all in an effort to make 
what is known in the industry as a back-to-the-basics 
album — the response was inalterably set. Suspicion, if 
not outright dismissal on one side, defensive praise on 
the other, the sweeping proclamation as the principal 
means of expression. If I’m suggesting reasonableness 
here (something no critic or fan ought to be held to, I 
admit), it’s because I think it’s easy to miss the point 
about Mad Love (Asylum), Linda Ronstadt’s new album. 
Despite the headlines and the jokes, the confessions 
and the rebukes, Mad Love is neither the radical depar- 
ture Ronstadt and her publicity machine would like to 
claim nor the affected embarrassment her detractors 
would so dearly like to tear apart. In many of its essen- 
tials, Mad Love fits the formula of Ronstadt’s last five 
platinum albums: producer-manager Peter Asher has 
overseen the project; many of the LA sessionmen asso- 
ciated with Ronstadt — Russ Kunkel, Dan Dugmore, Bill 
Payne — provide back-up; the material consists entirely 
of love songs. On the other hand, there is no J.D. Souther 
tune, a staple on her recent LPs, and no famous covers, 
the source of almost all of her hit singles (Little Anthony 
and the Imperials’ ‘‘Hurt So Bad” and the Hollies’ ‘I 
Can't Let Go,” the oldies here, aren’t well-known enough 
to count). The record is too glossy, too conventional, to 
be called new wave, yet Ronstadt sings with a perky 


if could be a variant of one of those lightbulb jokes. 


Linda Ronstadt 


looseness and a hesitant though convincing trashiness 
that usually has eluded her in the past. Mad Love is a 
compromise, a contradiction in terms, the beast many of 
us have been fearing since the Sex Pistols first shattered 
the scene — mainstream new wave. Like the redundancy 
of the term itself — new wave, after all, was a reduction 
of punk — Mad Love does seem suspect, rock’s version 
of radical chic, and it’s awfully tempting to equate Ron- 
stadt’s choice of Elvis Costello as her punk entree with 
her new, fashionably tufted haircut. But fast equations 
and snappy one-liners don’t explain that Mad Love, for 
all its missed opportunities and glibness, is Ronstadt’s 
best album since Heart Like a Wheel; they don’t explain 
that the album’s basic contradiction — punk reckless- 
ness vs. LA formalism — has forced Ronstadt to struggle 
for the first time in years, forced her to make new sense 
of herself and her singing. 

Like most pop compromises, Mad Love cries out for a 
pat theory. Part of its pleasure is that it doesn’t yield one. 
On the whole, Ronstadt sings more aggressively and suc- 
cinctly on the uptempo tunes, yet the album’s best song 
is its towering ballad, ‘Hurt So Bad.’”’ Ronstadt doesn’t 
know what to make of Costello’s twists and turns in 
“Party Girl” and ‘Girls Talk’’ — she gets all tangled up 
in them on the first and bypasses them altogether on the 
second — yet she concludes the ‘record with a master- 


fully coordinated sprint through ‘’Talking in the Dark”’ 
(Costello’s version is available only as a B-side of the 
“Accidents Will Happen” import singfé). Some of the 
songs demand a less polished, more militant band, but 
one wonders if such a band could erect the cavernous 
structure of ‘‘Hurt So Bad” or trim ‘Talking in the 
Dark” with the properly colorful ornaments that sparkle 
here. Mad Love goes bad where Ronstadt’s albums in- 
variably go bad — when the plump, perfect notes are so 
worried-over, the phrasing so transparent, that she sails 
right past the song. It’s a peculiarly narcissistic form of 
singing, and Ronstadt rarely brings to it the high jinks of 
someone mugging before a mirror. Neil Young's ‘“Look 
Out for My Love” is the victim this time. Ronstadt trans- 
forms it into a drowsy ballad — all lace handkerchiefs and 
faint perfume. Her voice, made all the more airy with 
some echo, wafts over the title/refrain as if Young 
intended it only as a blushing request and not also as a 
warning, a possible threat. Though she keeps her dis- 
tance during “I Can’t Let Go” and “Justine” (over- 
written in the first place), ‘‘Look Out for My Love” is the 
worst example of Ronstadt’s self-inflicted oblivious- 
ness; it doesn’t help that its folkish strains are at odds 
with the record’s aggressively pop flavor. 

This pop aggressiveness comes almost entirely from 
Ronstadt’s singing. The guitar-centered arrangements 
(uncredited) still seem studied too much of the time, still 
encase her in good taste more than they should. Yet this 
is also the source of the album’s tension, because Ron- 
stadt, at her most exciting, is interested here not in the 
restraint of taste but in the liberation that can be found in 
pop trash. Her voice now is warring with itself — 
swinging, sometimes madly, from purity, and the reason 
and maturity it represents, to the chaos and unrestraint 
of squeaks and squeals. The wobbly ‘‘oooh’’s that come 
streaming across ‘How Do I Make You” carry the loud 
excitement of fun; they aren’t the expressions of some- 
one fretting over her formal graces. Ronstadt’s too busy 
revving up for the high challenge of romance to care 
whether she’s singing properly, only that she’s singing it 
all. In the middle of ‘Mad Love,” when runaway des- 
peration seems to have gotten control of Ronstadt’s 
voice, she stops short, and, with withering, high-school 
nastiness, lashes back at her mad love: ‘‘Now you call me 
and you're so cool.”” Her words come down hard, . 
echoing the crunched-up consonants, the anger of ‘The 
Cost of Love.” Most of this is drugstore-paperback stuff; 
by refusing either to condescend to it or to dress it up, 
though, Ronstadt gives it the schlock grandeur that pop 
strives for. And she’s rarely been as overwrought as — or 
more accurate than — on ‘Hurt So Bad”; the song 
becomes her dark, Satanic, Gothic novel. Everything is 
out of perspective. Her voice is magnified, mixed way out 
front, the guitars slashing time far in the distance. She 
belts out a pleading ‘‘Oh,” and the guitar solo emerges 
from her voice as if it were a snake. There’s horror in her 
voice, she’s banging her fists, screaming, ‘No, no, no,”’ 
slurring her words until phrases are mangled, her voice 
has lost all its control, and the song’s only resolution is to 
fade away, leaving Ronstadt to wrestle with her new- 
found freedom and her newfound fears. You can get hurt 
a lot worse by playing it safe. € 


An LP and a Clash 


by James Isaacs 


t's Easy To Remember is a good first album by 
compose Art Matthews,- who teaches at 

UMass-Amherst and therefore plays more fre- 
quently in western Massachusetts than in Boston. 
Thoroughly modern hard bop of a lyrical bent, It’s Easy 
(recorded in December of 1978 and released last 
November on Matthews’s Matra label) features such 
notables as trumpeter Dizzy Reece, saxophonists Archie 
Shepp and Bill Pierce, bassist Charles Fambrough, and 
drummer Alan Dawson. But it is the leader’s two or- 
iginal compositions more than the all-star sidemen that 
are of greatest interest. 

“Samba Ebony,” a burning set-opener with challeng- 
ing changes, would be ideal for Woody Shaw’s band or 
Art Blakey’s Messengers, among others, and “Love 
Dreams” is an attractively understated ballad in oneiric 
waltz time. George Coleman’s “5/4 Thing,” with Bill 
Pierce digging in on tenor, also works, but the second 
side’s two standards are less successful. “I'll Remember 
April’’ is jumpy, while the title tune is given a meander- 


. ing, samba-to-bounce reading. 


Dizzy Reece’s playing is lustrous and arousing 
throughout; Pierce is in fine form, too, but Shepp sounds 
out of sorts, particularly on “Samba Ebony.” If the bass 
and drums seem weak, it’s because of the muddy mix. 
Matthews, whose approach draws from Bud Powell, 
Cedar Walton, McCoy Tyner, and, to a lesser extent, 
Horace Silver, has a light yet firm touch, an admirable 
sense of swing, and the always welcome gift of balladic 
eloquence (e.g., his introductions to ‘‘Love Dreams” and 
the title tune). One hopes, on the basis of his two 
originals, that he writes more on subsequent LPs — his 
own and others’. 

If you can’t find It’s Easy To Remember in the local 
stores, send a check for $7 to Matra Records, Box 635, 
North Amherst, MA 01059. 

* * * 

Sometimes it seems that Don Law goes out of his way 
to dissatisfy his customers. Take the Law organization’s 
recent clumsy handling of ticket sales for the Clash’s 
March 9 concert at the Orpheum. According to the ads 


Cellars 


that ran in the local weeklies, advance sales were to have 
begun at the Orpheum box office on Friday morning, 
February 29. Instead, the much-prized (over-prized?) du- 
cats were sold on the morning of Wednesday, February 
27. By early afternoon the next day, they were all gone, 
save a few single and obstructed-view seats. 

At about 6 a.m. on the morning of the 29th, however, a 
painter and Clash fanatic from Rockport named Dennis 
Poirier began standing in line outside the Orpheum for 
tickets. The temperature was a brisk 12 degrees Fahren- 
heit. Poirier and, in his estimation, about 25 others 
waited in the cold for up to four hours. They obviously 
had not heard the announcements Don Law had placed 
on WBCN on the morning of February 26, informing the 
public of the earlier sale date, and on the afternoon of 
February 28, declaring a sell-out. And apparently there 
were no “Clash Concert Sold Out’ signs posted on or 
near the box-office window. Not surprisingly, Poirier 
and some of the other chilled fans were not happy. 

How did it happen? Don Law vice-president Fred 


Johanson explains the foul-up as follows: ‘‘We got the. 


Clash date confirmed on February 22 and ordered tickets 
that evening. Based on our best estimates of how Globe 
(theater-ticket manufacturers) has been delivering to us, 
we figured to have the tickets on the 28th. Instead, we 
got them on the 26th. Normally it takes us three weeks or 
so to sell out a show for a band like the Clash. Ob- 
viously, we underestimated in this case. When they 
played the (2800-seat) Orpheum last fall (September 19), 
they did not sell out, and we thought that being given an 
extra two days to sell the tickets would certainly help 
everyone. A lot of people heard our announcements on 
‘BCN, but obviously they’re not going to reach every- 
one. Looking back with 20/20 hindsight, we made a mis- 
take. I think it really is an isolated incident. Nobody was 
defrauded out of money. We've received maybe 10 or a 
dozen complaints over the phone, and most people have 
been understanding when we told them the circum- 
stances.” 

‘When I talked on the phone to a guy at Don Law’s 
office,” said a still-angry Dennis Poirier, “I told him that 


if (Clash leader) Joe Strummer found out about this, he’d 


‘be pretty upset. The guy I talked to’ knew nothing about 


the Clash and what they mean.” 

If a quote attributed to Strummer following last fall’s 
Orpheum show is any indication, though, the Clash may 
not always mean what they say — especially during a fit 
of pique. After that engagement, at which the security 
people (aka the red shirts) apparently did their work with 
typical zeal, Strummer told the Globe: ‘We will not work 
for Don Law again because you cannot hire animals to 
control people.’ Strong and commendable sentiments, 
those. But haven’t we heard them before — from Elvis 
Costello, Rachel Sweet’s management, and blah-blah- 
blah, woof-woof-woof? 

No second Clash show will be added. 

* * * 

ODDS AND ENDs: Happily, no injuries or losses of 
musical equipment resulted from the March 1 four-alarm 
fire at the Harbor House motel, adjacent to the Main Act, 
in Lynn. The Rings, opening for the Fools, were onstage 
when the room was evacuated. After closing for a couple 
of days to clean up, the club has resumed presenting live 
music. Private Lightning, making their first local ap- 
pearance since their A&M album was released, headline 
on March 13. : 

The brilliant Catalonian pianist Tete Montoliu will 
play his first Boston concert at Morse Auditorium (602 
Comm. Ave.) on March 17 at 8 p.m. Tickets are $5.50, $5 
for WBUR listener-sponsors. Should be tremendous. 

Peter Simon’s Saturday-afternoon radio program on 
WCAS (740 AM), Reggae Bloodlines, has been ex- 
panded to two hours, 1 to 3 p.m. If you tune in this week 
(March 8), you'll hear the incomparable ‘‘You Can't 
Blame the Youth,” written by Peter Tosh and taped at a 
Wailers 1972 club date in San Francisco. Don’t miss it! 

The Nervous Eaters will begin their first album for 
Elektra next month, with Harry Maslin producing. A 
June release is anticipated. 

GG Allin and the Jabbers at the Club, March 12 and 
13....Reedman Ron Mooradian’s quartet at the Sun- 
flower, March 14 and 15..°. . Bellvista at Ryles, March 
14 and 15.... Rebekah and Albin Zak,- piano/guitar 
duo, at Emmanuel Church, March 9 at 6 p.m.; they 


specialize in a kind of Middle Eastern/jazz fu- 


sion .... Sal Spicola’s quintet at Sir Harry’s, 18 Oliver 
St., in the financial district, March 14 from 4 to’8 p.m. 
Jon Jarvis plays solo piano there, Monday through 
Thursday from 5 to 9 p.m... . Chris Smither at Passim, 
March 14 through 16....Stan Getz at Lulu White’s, 
March 12 through 16. & 


YARMVETIC 


ig 

4 
= 
q 


The message 
ska, Rudy 


Madness and 
the Specials 


by Mike Howell 


British punk music expressed its alienation is ad- 

mirable, the milieu from which it sprang is 
decidedly less so. True, rock ’n’ roll has always been the 
music of the “have-nots” of this world. But in a period of 
tremendous frustration, the definition of ‘‘them’’ can be 
expanded to include almost anyone. That’s when things 
get nasty. Punk’s great shame was that in declaring “I am 
somebody” — even if that somebody was an anarchist or 
the Antichrist — it frequently carried through on the 
statement’s dark corollary: you are nobody. And all to 
often punks directed this judgment at those just slightly 
farther down the ladder than themselves — blacks, gays, 
and immigrants — even as others formed such organiza- 
tions as Rock Against Racism. Many bands were formed 
by restless kids on the dole. Angry at having nothing to 
do and feeling displaced by the influx of immigrants 
from old colonies like Pakistan and Jamaica, they struck 
out. Ugly reports of ‘Paki-bashing’’ and ‘‘queer- 
bashing’’ were common. If the spirit of the time was one 
of jubilant self-assertion, it was also laced with violent 
racism and xenophobia. In musical terms, it fostered an 
approach that rejected any outside influences; the Sex 
Pistols wanted to sound as though Chuck Berry, Elvis 
Presley, the Beach Boys, and the Beatles had never 
existed. 

Yet the Pistols’ statement of anomie, once made, could 
never be repeated; for pop music, Britain is an impos- 
sible place in which to be isolated. So it was only natural 
that post-Pistols punks began to claim oldies as their 
own, move toward commercial styles, and assimilate for- 
eign ideas into their music. Not surprisingly, reggae held 
the greatest appeal. It articulated the Jamaicans’ version 
of “us against them,” an attractive new resistance to 
authority, and its loping Caribbean beat had already 
proven commercially potent. Elvis Costello incorporated 
reggae’s tight drum sound and pumping bass into 
“Watching the Detectives,’ while the Clash, who had a 
truculent reputation, put Junior Murvin’s ‘Police and 
Thieves’’ on their first album. The bashing sprees may 
not have been over, but these acts indicated an aware- 
ness of who “them” really were. (Of course, all this time 
Jamaican reggae was developing in its own way, quite 
independent of what the punks were up to. But that’s 
another story.) Since then, white British reggae has be- 
come increasingly popular. The Clash continue to cham- 
pion it, with several reggae songs on London Calling, and 

_the Police have become stars with their diluted; ididsyn- 
cratic version. 

But every advancement breeds a throwback, and the 
general acceptance of reggae has prompted a revival of its 
less political precursor, ska, a mixture of native Jamaican 
music and the New Orleans R&B that could be picked up 


£ hough the energy and intelligence with which 


Christopher Harting 


The Specials at the Main Act 


by island radios. It’s dance music, uncluttered by the 
mystical, highly stoned influence of Rastafarianism that 
characterizes most reggae, and its current white British 
kings are the Specials and Madness. 

Madness are by far the more loony — and they come 
right out and tell you so. ‘This is the heavy, heavy sound 

. the nuttiest sound around” goes the spoken intro- 
duction to their album, Madness (Sire). A baritone sax 
starts to stir things up and we’re off on a non-stop joke. 
Madness are out to have a good time, even if that good 
time resembles the Blues Brothers playing an all-nighter 
at Animal House. In fact, with their sax and organ domi- 
nating a skiffle sock-hop beat, their so-square-they’re- 
hip black-and-white cotton suits (not an earring in sight), 
and cartoony songs (“One Step Beyond,” ‘’The Prince,” 
“Tarzan’s Nuts”), they seem to have created themselves 
for a frat party. But for all their seeming casualness 
(actually closer to disarray), Madness understand that 
the secret to this approach is never to let up. Onstage, 
lead singer Suggs (an earnest young man with skinhead 
haircut, ill-fitting suit, and proudly lower-class accent 
much like Ian is out new dance 
steps or knocking be. es fashion. with 
Chas Smash, who contribir 
notes) “backing vocals, varidus shouts, and fancy foot- 
work.” At their recent Paradise show, Smash’s echoed 
exhortations reminded me of amusement-park rides 
where the operator is always blaring ‘‘Do you want to go 
faster?’’ He needn't ask, for, like those rides, Madness 


46"the liner” 


ow 


will eventually break down any reservations of reason or 
taste and you find yourself shrieking ‘Yes, yes!’’ Their 
record doesn’t fully capture this manic energy, but I 
doubt that a record could. 

The grandmasters behind the return of ska and its 
most admired practitioners are the Specials. This seven- 
piece band (nine with the horn section) includes two 
Jamaicans, vocalist Neville Staples and rhythm guitarist 
Lynval Golding, which immediately gives them points 
for authenticity over Madness. Moreover, the Specials 
can almost be credited with the entire revival. In the best 
punk tradition, they started making their own records, 
but since they had only one track (‘Gangsters’) they 
backed it with one done by some friends, who called 
themselves the Selecter, and put the two-group single out 
on their own 2-Tone label (named for their style of 
clothing). Its success resulted in a distribution deal with 
Chrysalis, and 2-Tone began putting out more records, 
including the first Madness single, more from the 
Selecter, the Beat, and their own music. Five consecutive 
British Top 20 singles in all — every one ska. (Their 
latest, a five-song live EP, has already shot to the top of 
dhe sBritish charts.) 


‘A Message to You Rudy,” their FM hit, shows why 


the Specials are a delight. The singing is tough and im- 
ploring, the chunky beat inspires a twitch in the leg, and 
the saucy trombone part gives the whole thing punch. 
Though “Rudy” is the album’s standout, there’s more 
Continued on page 13 


Sherman and Zander, cont’d. 


by David Moran 


t long last, Boston pianist Russell Sherman has 
A made his BSO debut, and it was superb. His ve- 
hicle was Liszt’s Piano Concerto No. 2, an odd 
concerto, gracious with rich interiors, beautifully quiet 
where it might not be (the slow, calm opening), semi- 
sonata-like in operation (built rather formally, if 
sprawlingly, on opening themes), sometimes a sort of 
tone poem with piano. The address of guest conductor 
Sergiu Comissiona and the orchestra was exceedingly 
friendly, even loving, and never glib. The couple of tardy 
orchestral entrances and rough ensembles, results of 
Comissiona’s inattention, did not detract. And beyond 
the orchestra's direct and warm ways into the Liszt, 
music that’s easy just to let pour out, lay the caring and 
the radiant intelligence of Sherman. 
What makes Russell Sherman one of the great Liszt 
players is his taking the composer absolutely seriously. 


The majestic moments are declared gravely; the disson-- 


ances are fully and comfortably voiced; the big gestures 
are not hoked up but treated with deliberation and 
respect; and the trapeze-trashy passages, as well as the 
movie music, are done straight. On Leap Year weekend, 
then, Liszt sounded for once like the great composer he 
was. Playing a glorious new Steinway, Sherman was con- 
stantly clear, duly sonorous, often pointed (as is his 
wont), digitally flawless, thoughtful even when not go- 
ing at all slow, and unflashy when he flew. And how he 
flew. It was like watching Larry Bird. 

Flanking the Liszt were Haydn’s wonderfully weird 
Clock Symphony and Stravinsky's startling Petrushka 
(the 1947 revision). The former sounded appropriately 
alert, spry on occasion, but not much more. The latter is 
an amazingly various thing: it seems full of every kind of 
color, rhythm, timbre, soloing, clatter; you're wowed at 
least a dozen times. It was eagerly set into: the BSO per- 

~ cussion are a miracle (and Stravinsky gives them loads to 


work with), Joseph Silverstein was again a superior Stra- 
vinsky violinist, and trumpeter Rolf Smedvig blew loud 
and clean. Only flutist Doriot Dwyer sounded below par 
— hurried. 

Still, with all this responsive enthusiasm, the Clock re- 
mained episodic — it had some of the necessary quick wit 
but no long view or “goal-oriented” phrasing — and 
Petrushka, too, got laid out in sections, with no logic 
between here and there and yon. Stravinsky must also be 
entirely clear (one gets this sometimes from Ozawa and 
got it always from Michael Tilson Thomas). Comissiona 
has a dancy, undetailed beat, which may be nice for small 
bites but was no help at all in X-raying this score. None- 
theless, a fine BSO concert for this season. 

Local conductor Benjamin Zander, who's gotten more 
press the last several months than anyone who wasn’t a 
hostage or a presidential candidate, is famous for his 
large bites, long view, revisionist researches, and sense of 
structure (‘‘paragraphs,” he sometimes calls it in his 
didactic and overwrought program notes). Self-promo- 
tion aside, his fame is recently due to the messy politics 
of his Civic Symphony-board firing, his re-forming the 
same musicians into the Boston Philharmonic, and the 
subsequent media bandwagoning; his fame is justly due 
to his radical interpretations and rigorously thoughtful 
visions. However, it must be stated emphatically in this 
period of Zander hoopla that he’s not an able conductor 
technically. He’s much improved over a half-dozen years 
ago, when his vigorous intellect and imagination were 
equally admirable; at that time, it was suggested that if 
Zander were put in front of a real orchestra, he'd be (in 
the words of one knowing observer) “probably laughed 
off the podium.” Zander’s beat is sturdy, large, and un- 
subtle — glee-clubbish and reaching — yet it can get strik- 
ing results. And his concepts are still often marvelous. 

The scandal of the recent Philharmonic concert was 


the ensemble violin playing throughout the Mozart Oboe 
Concerto and the Bruckner Ninth, which most of the 
time was unbearably out of tune, patchy and ragged, ex- 
cept maybe on the lower strings. Tutti pizzicatos were in- 
variably arpeggiated. Most appalling was the likely 
cause: only one of the 30-plus violinists ever looked at 
Zander during the performances (the others’ noses were 
buried in their scores). Such negligence is the fault only 
of Zander and of concertmaster Daniel Stepner. 

No surprise that the Mozart was characterful and 
oboist Peggy Pearson’s playing supremely pretty and 
pure (as always), if a little clarinet-squealy in ascents. But 
the performance was all somewhat slow. And conflicted: 
Pearson’s nimble phrases would get held back by 
Zander’s tutorial tempos, or her deft small passagework 
would labor against her hopefully compliant longer lines 
and ideas. This performance didn’t breathe naturally, al- 
though Pearson’s own breath control was phenomenal. 

Bruckner’s massive war and peace was right to the 
point, even if some sectional tempo choices weren't as 
contrasted as what I think Bruckner calls for (e.g., 
secondary themes, a sentimental Mysterioso). But it was 
never windy or boring, as Bruckner performances can be, 
and, played with such suitable scope, this Ninth thun- 
dered often. Bruckner Scherzos sound alike, asking that 
same question over, and over, and over, yet this one was 
scary, a roof-raising ruckus, hugely potent — like, say, 
listening to Fleetwood Mac live. If only one weren't al- 
ways made anxious about those violins. Zander enthu- 
siasts probably disdain the BSO’s strings’ virtuosity — 
soulless, only creamy, they charge, not interpretatively 
brainy. But we should never have to choose between 
beautiful playing and penetrating musicianship. No 
work was ever improved by a poor performance; in- 
deed, music is harmed and a composer’s intentions in- 
sulted as much by grossly slipshod playing as by stupid- 
ity about or lack of reverence for the score’s markings. 
For the Ninth, Zander got much thrilling work from the 
timpani, violas, the brass choirs, and the cellos (his own 
instrument). For all pieces, he should start stamping his 
foot toward those folks to his left. 


‘LL NOILOAS ‘*XINZOHd NOLSO® AHL 


or 
: 
: 
Ke 


THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


LAST THIS 


TITLE 


WEEK WEEK ARTIST 
2 FLOYD The Wall 
3 2  TOMPETTY/HEARTBREAKERS Dama The Torpedoes 
1 3 J. GEILS Love Stinks 
4 4 BETTE MIDLER Rose So 
5 5 MICHAEL JACKSON Off The Wail 
11 6 CHUCK MANGIONE Fun And Games 
7 DANFOGELBERG _ Phoenix 
8 PRIVATE LIGHTNING Private Lighting 
9 THEFOOLS id Out 
21 10 WARREN ZEVON Bad Luck Streak in Dancing 
11. GARY NUMAN The Pleasure Principle 
6 12. DONNA SUMMER 
17 13 HEART Bebe Le Strange 
10 14 ‘EAGLES The Long Run 
15  LINDARONSTADT Mad Love 
16 RAY,GOODMAN AND BROWN Ray, Goodman and Brown 
12 17 THE KNACK . . . But The Little Girls 
8 18 THECLASH London Calling 
25 19 WHISPERS The Whispers 
20  THESPINNERS Dancin’ and Lovia 
24 21 RUSH Permanent Waves 
13 22. THE SPECIALS The Specials 
17 23 THE PRETENDERS The Pretenders 
— 24 KOOL AND THE GANG Ladies Night 
15 25 KENNY ROGERS Kenny 


(Boston’s Most Purchased Albums) 


ON LABEL 


WEEK(S) 


Stans 


(WBCN’s Most Played Albums ) 


1 BOBSEGER the Wind 1 
4 2 PINK FLOYD Wall 13 
2 3 J.GEILS Love Stinks 7 EM 
8 4 TOMPETTY/HEARTBREAKERS Dama the Torpedoes 15 Backstreet 
5 5 THE PRETENDERS The Pretenders 8 Sire 
6 PRIVATE LIGHTNING Private 3. A&M 
48 7 THE CLASH London 
8  THEFOOLS Sold Out : 
3 9 _LINDARONSTADT Mad Love 
1 10  ELVISCOSTELLO 2 
20 11. THESPECIALS The ais 8 Chrysalis 
9 12 HEART Bebe Le 3 Epic 
16 13. MARIANNE FAITHFULL Broken 11 Island 
- 
24 
19 16 RACHEL SWEET The innocent 2 Columbia 
45 LENELOVICH 4 Suit 
12 18 SHOOTING STAR Shooting Star 
20 UTOPIA Adventures in Utopia 4 Bearsville 
WITH A BULLET +) 
Selected by Kit Rachlis, Boston Phoenix Music Editor 


Costello has once again 
a-half albums. 


Bad Luck Streak Al 


tions of himself, of rock heroes, of you. 


@ Mad Love (Asylum) — Linda Ronstadt 
Her best album since 


an end. 


WS 


CRN 


Get Happy!! (Columbia) — Elvis Costello and the Attractions 
. On the surface, Costello's most ordinary and, paradoxically, 
‘most off-putting album. But in time, the melodies begin toin- § 
¥  veigle, the phrases and slogans begin to come through, and 
en you down into his subterran- § 
ean lovesick blues. Twenty songs full, it's equal to one-and- 


Dancing School (Asylum) — Warren Zevon 
No more Mr. Tough Guy? Well, not quite. But it's Zevon's 
most contemplative record. Which is to say that he uses all 
his familiar tools — perverse humor, gun imagery, martial 
beats, narrative turn-arounds — to ask all the right ques- 


Heart Like A Wheel. You can hear Ron- 
stadt struggling to get out of the contradiction the record & 
sets up: new-wave recklessness vs. LA formality. And that ® 
struggle means that she’s thinking about how the songs 
| should feel, not about how they should be phrased. And iff 
you have any doubts that new wave has entered the main- 
Stream (for better or worse), this album should put them tom. 


Records 


Professor Longhair 
CRAWFISH FIESTA 
(Alligator) 


I n death, as he was not in life, Henry Roeland 


Byrd — better known as Professor Longhair — ~ 


is a rock star. Outside New Orleans, where he 
died on January 30 at 61, Longhair was largely 
considered a Legend; his funeral was not only cov- 
ered by the big-time rock press but by such front- 
rank dailies as the Washington Post. The progeni- 
tor of the Crescent City’s regal line of rocking 
piano players, he was wrapped in an aura of voo- 
doo, real or imagined. Within his hometown, 
though, Longhair’s rolling, rhythmic rock ‘n’ 
rhumboogieblues pianistics, rollicking songs, and 
patented vocals (between a yelp and a yodel, with 
some hiccoughing octave drops for emphasis) were 
simple, joyous common occurrences. 

But in the final year of his life, the Legend was, 
more than ever before, seen in the flesh by Ameri- 
can audiences. With the Blues Scholars, his crack 
six-piece band, Longhair undertook a short tour, 
flooring crowds (like the one at Jonathan Swift's) 
that had known him only from his few records, if 
at all. Then, last November, Longhair and the 
Scholars, expanded to an octet and including Mac 
“Dr. John” Rebennack on guitar (one of the Pro- 
fessor’s most industrious, if not always inspired 
students), cut Crawfish Fiesta, his third American 
album. It’s a gem. 

New Orleans Piano, 13 vintage sides recorded 
for Atlantic in 1949 and 1953, was Longhair’s Ro- 
setta Stone, and is indispensable. Live on the 
Queen Mary (Harvest), with the Professor and a 
three-piece combo playing a 1975 bash thrown by 
Mr. and Mrs. Paul McCartney, had a demo-tape 
quality, albeit with irresistible rhythm tracks. 
(There is also a hard-to-find French import, Rock 
‘n’ Roll Gumbo.) While Longhair’s music has al- 
ways been accessible, the new LP is easily his most 
contemporary Set. Fiesta is arguably his crowning 
moment, and will stand alongside the Meters’ Re- 
juvination as the consummate modern New Or- 
leans funk fest. 

Like a gourmet Creole meal, Fiesta is sumptu- 
ous, spicy, rich, a bit exotic. With the band serv- 
ing up a deliciously punchy riff, the Professor 
whistles while he sails through ‘Big Chief,’”’ one of 
four updates of Longhair classics. Another re- 
make, “In the Wee Wee Hours,” cooks even harder 
than the 1953 original — no mean feat. ““Her Mind 
Is Gone” and a cover of Solomon Burke’s “Cry to 
Me’ are pure “second line; with 16th-notes chuf- 
fing ‘round amd ‘round over rhumba-accented 
eighth-notes (‘“ONE-two-three-FOUR-five-six- 
SEVEN-eight/ONE ...’’ — and now is as good a 
time as any to credit the rhythm section, particu- 
larly drummer John Vidacovich). 

“You're Driving Me Crazy” is a springy two- 
beat (another staple New Orleans groove); a cover 


air’s wild scatting im unison with 


-shrieking wrangle between the saxes; a wailing 
“cover of Little Johnny Taylor’s “It’s My Fault, 


Darling’ (ah, wedded bliss) and a great remake of 
“Bald Head” (Longhair’s first race-record hit, from 
1949) are examples of the comical, call-and-re- 
sponse stuff that would make Huey ‘’Piano’’ Smith 
the life of the party in the late ‘50s. ‘Bald Head”’ is 
further distinguished by a piano solo, wherein the 
Professor, in a mere 16 bars, fashions, with typical 
rhythmic eclat, an ingenious, lattice-like construc- 
tion against the harmonic contours. 

- Lastly, there’s the title tune, a keyboard fantasy 
in E flat with conga and what sounds like tuba (or 


- jug) accompaniment. We hear fragments of folk, 


pop, and children’s songs: ‘’A-Tisket, A-Tasket,” 
“Rum and Coca-Cola,” “I Went to the Animal 
Fair’’ and — can it be? — Groovin’ High,” weaved 
together by a sprightly calypso beat. It is a fitting 
valedictory for Professor Longhair, who spoke 
softly but tapped all who heard him with his 
rhythm stick. 

— James Isaacs 
Leo Smith 
SPIRIT CATCHER 


(Nessa) 


eo Smith is the poet of the AACM. His 

melodic immediacy communicates directly 

even to the casual listener. Given Smith’s 
skill in transmitting his lack of extravagance and 
pinpoint execution to his sidemen, it’s easy for the 
collective achievement to overshadow his appeal as 
a trumpeter; ‘yet the bleak beauty of Smith's 
sound, his sureness in the lower register, and gentle, 
but firm attack exploit the affective personality of 
his horn in a manner akin to Miles Davis. Lis- 
teners unfaniiliar: with the structures of Smith’s 
compositions ought to recognize the emotional ter- 
rain; “The Burning of Stones,” with Smith muted 
over three harps, recalls the introspective ambi- 
ance of Sketches of Spain, while the melody of 
“Spirit Catcher,”’..for all its mobility, somehow 
seems to hang ‘there like one of Wayne. Shorter’s 
musical haikus. 


_As with many: of his AACM compatriots, Smith 


has a fresh and fluid sense of form, yet the unex- 
pected thrusts and turns of his music are never ob- 


Whole is high- 


chell, Smith has humanized-these forms-and-playse-+: 


them out coherently, so that expression takes prec- 
edence over structure. ‘‘Images,”” a quintet. piece, 
sets out to keep ‘an equal balance between the im- 
provised portion and the notated or composed por- 
tion happening all the way through,” and it suc- 
ceeds through the seamless weaving of lines rather 
than the use of blatant effects. Melodic threads can 
be clearly followed as they pass among the five 
players in- various groupings. At times secondary 
instruments are used to good advantage (as in one 
wooden-flute duet between reedman Dwight An- 
drews and bassist Wes Brown), though for much 
of the time Smith merely holds the more conven- 
tional ‘‘blowing” instruments in keen balance. An- 
drews, Brown, vibraharpist Bobby Naughton and 
drummer Pheeroan ak Laff have completely ab- 
sorbed Smith’s ideas, and each puts his. substan- 
tial technique at Smith’s service (here again Smith 
the leader recalls Miles Davis). 

In format, Spirit Catcher is identical to Smith's 
Divine Love (ECM), recorded eight months ear- 
lier. Both albums begin with a side-long group 
statement, proceed to pieces of great fragility built 
around a three-instrument ‘‘section,’” and close 
with a theme-solos-theme construction. The 
rhythmic involvement is more intense on Spirit 
Catcher, thanks, in part, to the presence of a bass- 
ist and drummer. (Those who are quick to dump 
on ECM and/or praise the ever-astute Chuck Nes- 
sa might overlook this obvious difference. On the 
other hand, credit Nessa for getting the extraordi- 
nary Rudy Van Gelder involved in recording this 
type of music.) Spirit Catcher moves faster and 
more boldly than Divine Love, though the latter 
proves Smith’s compatibility with Manfred 
Eicher’s “ECM sound.” In any case, both Nessa 
and Eicher did well by Smith and intend to record 
him again. Given Smith’s achievement so far, such 
news deserves any available hyperbole except “too 
much.” — Bob Blumental 


The Controllers 
DANCIN’ AND LOVIN’ NEXT IN LINE 
(Atlantic) (Juana) 

FE rom 1970 to 1978, the Spinners epitomized 


The Spinners 


vocal-group elegance. Led by the bubbling 

energy, polished charm, and virtuosity of 
Phillipe Wynne, and guided by the sentimentality 
of producer Thom Bell, the group made songs that 
owed a huge debt to daytime television’s milieu of 
tears and ravaged love. Still, lyrics and themes 
were tender and simple, the melodies lush and the 
harmonies tight, emphasizing a soul-gospel flavor 
that survived Bell’s reliance on maudlin string at- 
mospheres. In addition, they recorded several ex- 
excellent uptempo dance numbers, like ‘‘Mighty 
Love,”’ and persued a successful collaboration with 
Dionne Warwick on ‘‘Then Came You” — in short, 
a track record that boasted more pop victories than 
defeats. 

But the Spinners’ peak period ended abruptly 
with Wynne’s defection, hitting rock bottom with 
Bell’s dismissal after several album flops. Dancin’ 
and Lovin’ attempts to reshape the post-Wynne 


pgpinners as a 
possible fifttite adapting white Though the al- 


bum has given them their biggest hit, “Working 
My Way Back to You,” since “Rubberband Man,” 
it exposes every glaring weakness that has plagued 
them since Wynne and Bell departed. Most of the 
selections are faceless, second-rate material that 
even in disco’s heyday couldn’t survive a club 
sound system and surly crowd. The group sings in 


.a rote fashion, as if it wanted to end the agony 


quickly, and without comment. Five of Dancin’ 
and Lovin’s six selections are the work of a group 
in trouble, desperately searching for an identity. 
The lone hit offers mixed solace, because the 
melody contains little of the soulful flourishes that 
were basic to past Spinners triumphs. The open- 
ing theme gets a competent reading, with John Ed- 
wards. crisply singing Frankie Valli’s pledge. Only 
in mid-song, as Edwards rears up and wails, does 
the music have any vitality. He soars over the wall 


‘ of sound with a jerky, shouting delivery, elevat- 


ing a pedestrian effort into a buoyant, crackling 
dialogue. His line “I’m sorry” is drenched in hu- 
mility, recalling the showmanlike fire of the 
Trammps’ Jimmy Ellis, the inflection and sincer- 
ity of a bluesman. This rocking, vibrant perform- 
ance is in vivid contrast to the tentative, tepid work 
Edwards has done with the group since joining in 
1978, and offers some hope for the future. 


The Spinners are shown up by a lean, four-man 
crew of unknowns, the Controllers. Though their 
origins are Southern, their 1977 hit, ‘Somebody's 
Got To Win, Somebody’s Got To Lose,” and most 
of their new album, Next in Line, splits its style be- 
tween vintage Gamble-Huff arrangements and 
Chicago-soul approaches. “I Can’t Turn the 
Boogie Loose’’ and “Let Me Entertain You” fea- 
ture driving rhythmic structures and fun, insig- 
nificant lyrics. Their initial single, “We Don’t,’ 
begins with a melodramatic, brooding orchestra- 
tion that brings you directly into the hooks, segu- 
ing into a Marvin Junior-derived,; growling vocal 
that parties to the demise of a relationship. De- 
void of pretentiousness, gimmicks, ar, stock--de- 
vices, the Controllers are the type of no-frills, 


earthy vocal group too often locked out: of pop* 
paradise. But their directness and authenticiiv are. 


exactly the qualities that once: made the Detroit 
Spinners something special. 


Scute, To an even greater extent than, Roscpe Mila 


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THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


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GRAND OPENING SPECIAL 


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expires 
March-30 


THE CARLA BLEY 
ORCHESTRA 


THE FRINGE 


One of the foremost com- 
posers and performers of 
the“‘newmusic.” 
Wednesday, March 12, 
Berklee Performance 
Center, 8pm. Tickets 
$8.50, $7.50. 

For ticket information, 
call 266-7455.. 

Tickets available 
through most major 
ticket agencies, Concert- 
charge (426-8181), all 
Ticketron outlets, and at 
performance hall box 
Offices. 

To mail order tickets 
include a self-addressed, 
stamped envelope and 
check or money order 
payable to THE BOSTON 
GLOBE JAZZ FESTIVAL. 
Mail to: The Boston Globe 
Jazz Festival, P.O. Box 11, 
Back Bay Annex, Boston, 
MA 02117.Be sure to 
specify performance. 

A public service of The 
Boston Globe. Produced 
by George Wein. 


Books 
The little 
green book 


Words that come right 
from the horse’s, uh, mouth 


by Larry Simonberg 


-9y hen the teachings of 
W Emily Post and Chair- 
man Mao are com- . 


bined, a peculiar new sort of 
world view emerges. This has, in 
fact, been accomplished in a pa- 
perback quickie called Sayings of 
the Ayatollah Khomeini (Ban- 
tam, 125 pp., $2.25). 

This slim volume of dubious 
wisdom, which Bantam likes to 
refer to as ‘the Little Green 
Book,” has its charms if you ac- 
cept the world as an irredeem- 
ably absurd and murderous place. 
Ayatollah Khomeini has estab- 
lished himself as America’s fa- 
vorite bogeyman and standup 
comic. And since we’ve been un- 
able to cow the villain, there's 
some comfort in mocking the 
clown. 

Sayings offers excerpts of 
thoughts and commandments 
ranging from political philos- 
ophy to bathroom habits, with 
emphasis on the latter. It is a 
translation of a French compila- 
tion, which was itself drawn from 
three books written by Kho- 
meini. The migration of ideas 
from Farsi through French to 
English makes one skeptical of 
the accuracy of their rendering. 
And the removal of these pro- 


nouncements from their context - 


can only reinforce that skepti- 
cism. The book has a brief, schol- 


arly introduction on Persian his- - 


tory by Clive Irving, but the edi- 
tor is Tony Hendra, best known 
for The ‘80s: A Look Back and 
the spoof newspaper Not the 
New York Times. Sayings of the 
Ayatollah Khomeini has one pur- 
pose: titillation. 

There are a few fragmentary 
statements about politics that 
chill the atmosphere. For in- 
stance: 

“Europe (the West) is nothing 
but a collection of unjust dicta- 
torships; all of humanity must 
strike these troublemakers with 
an iron hand if it wishes to re- 
gain its tranquility. If Islamic civ- 
ilization had governed the West, 
we would no longer have to put 
up with these barbaric goings-on 
unworthy even of wild animals.” 

The people who selected this 
thought for our consideration did 
not bother to include any specif- 
ic explanation of what the thinker 
was referring to. More typical of 
Sayings is the following item: 

“The leaders of our country 
have been so deeply influenced 
by the West that they have regu- 
lated the standard time of their 
country upon that of Europe 
(Greenwich Mean Time). What a 
nightmare!”’ 

Hey, don’t bother to ask why a 
nightmare. Just laugh. Speaking 
of ldughter, the following is even 
more reflective of the bulk of the 
book: 

“The meat of horses, mules, or 
donkeys is not recommended. It is 
strictly forbidden if the animal 
was sodomized while alive by a 
man. In that case, the animal must 
be taken outside the city and 
sold.” 

One imagines that Mein 
Kampf as interpreted by Lenny 
Bruce might- have come out 
sounding this way. Or perhaps 
the Book of Mormon as ex- 
cerpted by Steve Martin. From 
his gospel as presented here, it is 
hard to say whether the ayatol- 
lah is a savvy revolutionary or a 


megalomaniacal prophet. Per- 
haps a bit of both. ‘ 

Most, if not all, of these mus- 
ings and directives were appar- 
ently committed to paper in the 
bitterness of exile. What their 
relevance is to the current situa- 
tion, which is both triumphant 
and troubled for Khomeini, is 
anybody's guess. 

No attempt is made to present a 
coherent statement of the man’s 
religious or political beliefs. But 
like any holy writ, Sayings con- 
tains something for everyone. 
Some will applaud this: 

“Wine and all other intoxicat- 
ing beverages are impure, but 
opium and hashish are not.” 

Others may favor the follow- 
ing: 

“Shaving one’s face, whether 
with bladed razors or electric ap- 
paratuses intended for the same 
purpose, is highly unaccept- 
able.”’ 

There may even be some peo- 
ple who would agree with this in- 
junction: 

“Any trade in objects for en- 
joyment, such as musical instru- 
ments, however small they may 
be, is strictly illegal.” 

And surely no one will find un- 
reasonable this conclusion: 

“To look upon the faces and 
hands of Jewish and Christian 
women, if this is not done with 
intention of enjoyment thereof, 
and if one does not fear tempta- 
tion, is tolerated.” 

Actually, Sayings doesn’t have 
much of the ayatollah’s thoughts . 
on women. He is quoted as say- 
ing a woman must give up her 
studies if she can’t keep her face 
covered in the presence of a male 
teacher or can’t avoid “contact” 
with men while studying. Just- 
how far women may step out in- 
to Khomeini’s brave new world is 
unclear from the few references 
available here. 

Sayings has a few thoughts on 
modern geopolitics, urging holy 
war against infidels in general and 
condemning Jews and Israel in 
particular. And the Russians 
might take note of the ayatol- 
lah’s opinion that it’s the “sacred 
duty” of all Moslems to defend an 


‘Islamic country from invasion by 


unbelievers. 

_ The ayatollah also declares: ‘If 
anyone, in the guise of pursuing 
Islamic justice, interprets the Law 
in a manner contrary to the di- 
vine will, he has committed the 
sin of innovation.” 

But most of the book is taken 
up with a dizzying series of hair- 
splitting advisories on how to 
wash one’s delicate parts and 
when and by which means to pur- 
ify one’s body for prayer. No- 
where is it indicated how much of 
this is standard Moslem ritual, 
how much is Shiite doctrine, and 
how much is the ayatollah’s per- 
sonal teachings. As a general 
statement, consider the follow- 
ing: 

“There are eleven things which 
are impure: urine, excrement, 
sperm, bones, blood, dogs, pigs, 
non-Moslem men and women, 
wine, beer, and the sweat of the 
excrement-eating camel.” 

One other substance might be 
added to this list: books like Say- 


.ings of the Ayatollah Khomeini. 


When reading such books, be- 
ware the excrement of bulls. m 


, 
- 
A 
4 
; 

| 

4 
5 
2 
4 

wa. | 
; 


<j 


© 


CELEBRATING 
THE PAPERBACK PUBLICATION OF 


ANNE 


ANNOUNCE 
A MAJOR ARTISTIC COMPETI TION: 


Piemur in The Southern Continent of Pern 


Render your artistic vision of Anne McCaffrey’s hero, Piemur, in Southern 
Hold, Southern Weyr, or any other part of that mysterious and lush land 
from Dragondrums, the final volume of the Harper Hail Trilogy. 


7-Day Fall odyssey through Ireland.* 


Includes round trip air fare for two via British Airways from Boston to Shannon, 
return via Dublin, car rental and insurance, & inn voucher for 6-nights at any 
number of roadside inns throughout Ireland. 


W GRAND PRIZE: 


Enjoy tea and lunch as the guest of Anne McCaffrey in her Ireland home. 


RUNNER-UP PRIZES: 
_ -25 copies of the Harper Hall Trilogy: 
N Dragonsong, Dragonsinger, Dragondrums, signed by Anne McCaffrey, 
compliments of Bantam Books. 
& The first 50 entrants will receive a copy of Dragondrums, courtesy of Bantam Books es 


Particulars; RULES: | 

Entries to be 

judged by: . 1 Anyone-can enter. 

ANNE McCAFFREY 2 One entry per contestant. 

Designer All entries must include name, 
— Proprietor of address and phone. 


Earthlight Galler 
g y Bantam Books, The Boston Phoenix, WBCN 


4 
WENDY GLASSER ee FM, Earthlight Gallery and British Airways 
ragonaex . claim no responsibility for damage or destruction 


Entries to be judged on originality of vision and execution of artwork submitted for this contest. 
of artistic technique. 5 Entries must be pelvered to: 


Winning entries to be displayed From April 29th-May 6th at 
EaRTHLIGHT GaLLERY 


EdRKTHLIGHT GdLLERS 249 NEWBURY ST. HUSTON 

FANTASY & SCIENCE FICTION ART SCULPTURE * JEWELRY 
ON OR BEFORE APRIL 15, 1980 


*Trip mustbe taken between September 1, 1980-December 31, 1980 


iy 

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e 
2 

> 

i 

he ‘ 

> 

: 
~ 

4 f 

| 

i 
| 

| 

i 


12 


THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


Drawing color 


out line 


by Kenneth Baker 


he acclaim given Morris Louis’s 

i late color-field paintings has ob- 
scured the earlier work that pre- 

ceded them. Louis’s mature art, and the 
criticism appreciating it, are often called 
“formalist.” In formalist terms, Louis’s 
late paintings are something like objec- 
tive phenomena or historically specific 
possibilities of art that he discovered, al- 
most as a scientist might discover a pre- 
viously undetected property of physical 
reality. In this view, Louis’s achievement 
was to have subordinated his personal 
ambitions correctly to the historical nec- 
essities of painting. The trouble with it is 


that it presumes painting is a kind of’ 


autonomous institution that lives his- 
torically through the mindful or unwit- 
ting agency of people who try to paint. 
Louis’s biography, consequently, mat- 
ters only insofar as it tells how he became 
the vehicle for a historically urgent mani- 
festation of painting. 

The discovery of hundreds of drawings 
produced by Louis in the decades before 
his breakthrough in painting is likely to 
force a revision of the formalist view. The 
Fogg Museum at Harvard is presenting 
through -April 6 a selection of Louis’s 
drawings, chosen by Diane Headley, the 
art historian who unearthed and cata- 
logued the works. The drawings all date 
from the decades during which Louis got 
almost no recognition or encouragement. 
And they raise the question how more 
than 20 years of constant drawing could 
have prepared Louis to find an original 
way of eliminating drawing completely 
from his paintings. 

Headley’s catalogue essay 
sympathetically recounts Louis’s many 
years of frustrated ambition, both in the 
studio and in the larger world. Despite his 
having no real facility for conventional 
drawing, Louis drew continually, as if 


convinced that the discipline of the ef- 
fort alone would somehow be redeemed. 
In the process, he tried more or less 
deliberately to absorb the influences of 
artists such as Picasso, Miro, Matisse, 
even perhaps Andre Masson. There is an 
irony in his effort to assimilate the draw- 
ing styles of such artists: their drawing 
had been guided by the desire to forget or 
unlearn their conventional facility. Louis 
tried to imitate modernist drawing 
without having any natural facility to 
renounce. The frequent result of his ef- 
forts was drawings that look like naive 


transcriptions of modernist graphic style. - 


It is as if Louis saw the anti-methodical 
aspects of Surrealist drawing, for in- 
stance, as a method he might learn. 

The poignancy of the drawings is that 
they seem to establish that, without his 
incomparable late paintings, Louis would 
not be remembered as an artist of impor- 
tance. His drawings, by themselves, do 
not point to a memorable conclusion, 
They do not culminate in any original 
graphic achievement, though there are 
some individual works that can hang 


comfortably alongside drawings by the . 


artists Louis imitated and admired. So, 
were the drawings of more than two dec- 
ades simply unproductive, proof only of 
his tenacity? 


Part of the ingenuity of Louis’s color- _ 


field paintings is in their elimination of 
linear drawing. Louis was in step with his 
contemporaries in struggling with the 
problem of how to combine or reconcile 
drawing and painting in the same work. 
It seems paradoxical to think that his 
drawing activity should have led him to a 
way of abandoning drawing — unless we 
refer to aspects of the drawings them- 
selves. There are two problems on which 
Louis seemed to be working repeatedly: 
the problem of how to manage details, 


Morris Louis’s ‘D399,’ 1953 


and the problem of engendering a new 
kind of pictorial space. In other words, 


_ the focus of his efforts can be seen as the 


desire to devise the kind of space that is 
now referred to as a pictorial “‘field,’’ as in 
“color-field’” painting. Because he was 
working in a graphic medium (or several 
at once), he seems to have been trying to 
make graphic details combine to produce 
a new kind of space. And he seems even 
to have succeeded occasionally, as in the 


fine untitled drawing designated ‘‘D399,” 


from 1953. Here he has successfully ad- 
dressed the surface of the page as a 


whole, producing that impression of in- 


ner wholeness that the term ‘‘field’’ de- 
notes. It is possible, in other words, that 
Louis learned from drawing the kind of 
spatial effect he would later realize so 
powerfully in painting. The crucial shift 
in his art seems to have come about from 
his effort to think of painting utterly in 
terms of color. Once he did that, ap- 
parently under the influence of Helen 


Frankenthaler, he soon found a way of ° 


painting that produced the spatial field he 
had sometimes achieved in drawing, 


while eliminating drawing’s details. In 
retrospect, it looks as if every major 
painter of Louis’s generation had to 
struggle with this problem. Barnett New- 
man, Jackson Pollock, Philip Guston, 
Kenneth Noland, and others all ad- 
dressed the difficulties of organizing de- . 
tails on canvas. Louis found a painting 
process that let him eliminate all graphic 
detail. Seeing his paintings in this light 
makes you wonder whether he would 
have found such a solution had he not 
spent such a long time confronting in 
drawing the problems of composition and 
execution that preoccupied his contem- 
poraries. 

In short, the discovery of Louis’s draw- 
ings has added to the complexity of his 
mature work, enhancing the mystery sur- 
rounding the conception and execution of 
his brilliant late paintings. The drawings 
suggest the length and depth of the 
artist's struggle to maintain hope for an 
artistic breakthrough he could not fore- 
see, and, in that sense, they should speak 
to any contemporary artist now engaged 
in a similar struggle. 


Trailers 


Continued from page 4 
chines zooming through societies run by 
Big Brother — or by fascist bullies oper- 
ating a zeppelin. Amid the gloom 
‘swachildishness, a sense of play 
that keeps bubbling to the surface. 
The ignominious history of humanity 
and the impending apocalypse are seen as 
a jolly good show. Sometimes annoying, 
sometimes refreshing, sometimes even 
frightening, British animation marches to 
a different, and often hypnotic, drum- 
mer. At Center Screen in Carpenter Cen- 
ter, Friday through Sunday, March 14, 
15, and 16, at 7:30 and 9:30. 
— David Harris 


THE NINTH 
CONFIGURATION 

he first towering howler of 1980 

; displays the upbeat side of Exor- 

cist-author William Peter. Blatty’s 
Catholic kitsch sensibility. The Ninth 
Configuration, which Blatty wrote, pro- 
duced, directed, and even appears in (he 
bears an uncanny resemblance to Rich- 
ard Nixon), is a deliriously strained para- 
ble of faith and self-sacrifice (self-mar- 
tyrdom, really) — it ends with a psychia- 
trist committing suicide to provide his pa- 
tients with a curative form of ‘‘emotional 
shock treatment.” It’s set in a medieval 
German castle that’s been transplanted, 
stone by stone, to the Pacific Northwest 
(the picture was actually shot in Buda- 
pest) and is now an experimental loony 
bin, run by the Army, for psychotic Viet- 
nam veterans. The movie tries for a dis- 
orienting, hallucinatory tone, but Blatty 
(a former TV writer) has such a feeble 
imagination that the result is a sort of Ho- 
gan’s Heroes surrealism. Ex-Gls dressed 
as nuns or Nazis, engaged in such proj- 
ects as adapting Shakespeare’s tragedies 
for an all-dog cast (Hamlet to be played 
by a Great Dane), stride back and forth, 
waving their arms and screaming joky 
non sequiturs. “Robert Browning had the 
clap,” shrieks one tortured soul, ‘‘and he 
caught it from the Bronte sisters!’’ 
~ What's the Army to do? It’s hard to 
say, since Blatty is also teasing us with 
hints that the wacked-out grunts are only 


\ 


faking. Sort of. Consider the castle's 
token astronaut (Scott Wilson), who has 
flipped out just before lift-off (“The man 
in the moon tried to fuck my sister,” he 
explains). Wilson suggests that ‘if Ham- 
let hadn’t pretended to be crazy, he really 
would have gone crazy’’ — at which 
point, an Army psychiatrist scratches his 
chin thoughtfully, murmurs “Hmm; the 
Hamlet theory is correct,” and institutes a 
regimen of organized. role-playing. (Cut 
to the puzzled face of a supply sergeant 
back at headquarters studying a requisi- 
tion form: “Sixteen pairs of swimfins?’’) 
But whether or not the men have been 
“playing roles’’ all along is, to the end, an 
open question. Madness, you see, is it- 
self a form of role-playing. Stacy Keach, 
glowering and grunting through a really 
execrable performance, is the radical 
young shrink brought in to attempt a 
cure — except that he’s actually a notori- 
ous Green Beret assassin known as 
‘Killer Kane,’’ who cracked while crad- 
ling the severed head of his 30th battle- 
field victim, a 12-year-old boy. Keach 
now believes that he is his own brother 
(who really is a psychiatrist), and he’s 
been placed in charge of the asylum be- 
cause a concerned doctor thinks this 
“therapy” will cure him. (If the men are 
faking, of course, Kane can’t really expi- 
ate his blood-guilt by curing them, but let 
it pass.) Actually, the putting-the- 
loonies-in-charge idea applies to the mak- 
ing of this movie, too. The performers 
here are laboring under the chronic delu- 
sion that they are actors. But who can 
blame them? William Peter Blatty, I hear, 
thinks of himself as a serious theologian. 
At the Exeter, the Academy, and in the 
suburbs. — David Chute 


Shepard 


Continued from page 5 

graphical work, loosely based upon the 
actual romance between Shepard and 
Smith. 

But is ‘written’ really the proper term 
for it? Does Cowboy Mouth conform to 
any of our accepted notions of “‘play- 
writing’ or “‘autobiography’’? Answer 
“‘yes’’ at your peril. Cowboy Mouth is 
conventional only in that it is based, to a 
limited extent, on fact, and in that it uses 


techniques familiar to us from other 
plays. 

Plot. A young rock ‘n’ roll star (no 
doubt very like Patti Smith) named Cava- 
le is enamored of a young, married play- 
wright (no doubt very like Sam Shepard) 
named Slim. “These. two roles, inciden- 
tally, were played by their real-life iod- 
els for the piece’s New York premiere, in 
1971.) Crazed with jealousy, and high on 
peyote, Cavale abducts Slim at gun- 
point, and imprisons him in her squalid 
hovel of an apartment: , 

Motivation. Cavale’s mattress-strewn, 
cockroach-infested apartment reflects the 
mind of its occupant. The woman is, in 
Shepard's words, ‘‘beat to shit.’’ Yearn- 
ing for domesticity — or at least some 
kind of regularity — in her life, Cavale 
fondles her pet dead crow, whom she has 
named Raymond, and croons, ‘I don’t 
have any housewife shit. I want some 
stuff ladies have. I want a dishwasher and 
a stovepipe and a scrambled-egg maker.” 

Conflict. Slim, for his part, is still de- 
voted to his wife and child, although he is 
painfully in love with Cavale. However, 
he will have none of her fevered ambi- 
tion to brainwash him and, eventually, 
transform him'‘into a sort of rock mes- 
siah — “a street angel. A saint, but with a 
cowboy mouth: Somebody for people to 
get off on when they can’t get off on 
themselves.’ Through much of the play, 
this ungainly couple have at each other 
with abandon, braying, smashing plates, 
hurling food, and screaming expletives. 
Cowboy Mouth is Who's Afraid of Vir- 
ginia Woolf? in punk drag. 

Action. Shepard does nothing to re- 
solve this situation. (I’m attributing the 
play to him because it has stylistic resem- 
blances to other works of his, and be- 
cause it is published in a Shepard 
anthology entitled Angel City, Curse of 
the Starving Class and Other Plays; Uri- 
zen.) He is not interested in character 
motivation or in psychology — except, 
perhaps, his own. Nor does he use mean- 
ingful events to keep his plays moving. 
There are precisely two actions in Cow- 
boy Mouth. The first is the entrance of a 


- six-foot lobster — superbly realistic in the 


Loeb production — who serves the mal- 
nourished pair a dinner of scrambled 
eggs, toasted bialys, Pepsi, and tequila. 


The second is the Aphrodite-like emer- 
gence, from the lobster’s shell, of the rock 
messiah for whom Cavale has longed. His 
hair dyed cranberry, his lean, naked body 
strewn with glitter, this androgynous fig- 
ure stands, clutching his guitar, in a pool 
of light. Cavale hands him her Colt .45, 
which he faises to his head. As he pulls 
the trigger, there is a loud click. The 
lights fade, and the play is over. 

By now, it’s a commonplace to say that 
Shepard’s method is more painterly than 
dramatic. Another of his short-shorts, 
Action, has very little to do with action 
and a great deal to do with images, spe- 
cifically a dead fish and a cooked turkey. 
Likewise, Cowboy Mouth relies less on 
tension than on accretion: in the course 
of an hour, Shepard’s strange words and 
images pile up, gaining resonance, until 
finally we are left with a complete mo- 
saic portrait of Cavale and Slim. And al- 
though it lacks the structural cohesive-, 
ness of Shepard’s Buried Child, it is still 
an amiably demented, even compelling 
little play. Moreover, it is shrewdly 
proportioned: Shepard has made sure 
that it does not last a second longer than it 
should. 

Maggie Topkis’s production at the 
Loeb Ex demonstrated that roughness can 
sometimes be preferable to polish. Shep- 
ard’s wild mixture of modes — from real- 
ism to symbolism and back again — was 
made to seem all of a piece; transitions 
were handled so deftly that they were 
scarcely noticeable. Jonathan Lemkin’s 
set captured the horror of every cheap, 
peeling, dilapidated apartment in the 
world. And the two actors, Martin Davies 
and Margaret Frank, looked, as they 
should, absolutely disgusting. Davies, in 
scruffy overalls and punk haircut, was a 
tense, highly strung (and strung-out) 
Slim, particularly convincing when he 
was flailing away at the drums. Frank, 
dressed in black, slouching and sulking, 
was hard to distinguish from Cavale’s 
mangy dead crow. Their performances 
caught Shepard’s mordant humor. But 
they were rather short on hysteria: Frank, 
in particular, so’ underplayed Cavale’s 
drug-induced hallucinatory ravings that 
they were nearly inaudible. At other 
times, both actors seemed to camp up 
Shepard's script and play it for unwar- 


TA \ thee | 


as Shepard ight want it to. Deliriously 
free-associative, it was not so much a 
coherent one-act play as a collage, show- 
ering us with glittering fragments of 
speech and imagery. 


Ska 


Continued from page 7 

than enough on The Specials (Chrysa- 
lis) to justify the excitement they've 
caused in Britain. Like Madness, 
the Specials emphasize danceability. 
Their approach highlights ska’s 
sharp, tinny drum sound, exception- 
ally fluid bass playing (from Horace 
Panter), and an odd blending. of 
two distinct vocal styles — Terry 
Hall's nasal British whine and Nev- 
ille Staples’s full-throated gruffness. 
Producer Elvis Costello lets these ele- 
ments (plus occasional horn parts by Rico 


Redtiguer. and. Dick, Cuthell 
Still,¢ Moutly registered mych«-p.songs: It’s a fairly complex sound t 


comes across as simple — which is more 
difficult than it may appear, because in 
ska, like reggae, the drums cut across the 
beat established by the bass and rhythm 
guitar. That part’s easy enough to get 
down, but to have the horns and vocals 
integrated into the total sound is tricky. 
The Specials manage it effortlessly. 

“(Dawning of a) New Era,” “Concrete 
Jungle,’’ and a cover of ” Do the Dog” 

are taken at a slow, funky pace 
with. an intriguing back-and-forth 
rhythmic quality. Danceable but not 
overly insistent about it. ‘It’s Up to You” 
re-creates the drums from “Watching the 
Detectives,” and the bass and horns in 
“Nite Klub’’ evoke a raucous atmo- 
sphere. On record, one of the chief dif- 
ferences between the Specials and Mad- 
ness seems to be a sense of pacing. Mad- 
ness are bent on taking everything at 
music-hall time, afraid that the whole 
house of cards might collapse if they hold 


back. The Specials are more confident, 
and it shows. They're loose enough to 
leave holes for other members to fill and 
cocky enough to attempt a ballad like 
“Doesn't Make It Alright’ or a horn-led 
instrumental like the live EP’s “Guns of 
Navarone.” 

As their recent performance at the 
Main Act-showed, this certainly doesn’t 
diminish their ability to get a crowd on its 
feet. From the opening notes, the packed 
house was bouncing so that even with an 
elevated stage standing on chairs was the 
only way to see. Onstage, the Specials 
showed themselves to be a powerful 
dance band, but they also. demonstrated 
something their good-time image and 
ska’s non-political nature may have 
obscured: that the Specials are pro- 
foundly political as well. Just as their 
music mines ska in a reaction to the iso- 
lationism of early punk, their solidarity as 
an interracial band is an implicit rebuke 
to racism. They brought this up front 
when they performed “It Doesn’t Make 


It Alright.’’ The son begins with a ih 2 Single 
plaintive voice (Hall) singin - 
typal underdog’s lament. But ‘hey turn 
the idea around, pointing out that depri- 
vation is no more an excuse for violence 
than riches. “Just because you're no- 
body,” Hall sings, ‘it doesn’t make it all 
right.’ By the end of the song, he’s done 
what few other white singers could do. 
He turns to the band and repeats the same 
teaching: ‘Just because you're a black 
boy ....” But by this time, the lesson is 
being given by all of them. Neville 
Staples booms forth a soulful “it doesn’t 
make it all right’’ while across the stage, 
Jerry Dammers and Lynval Golding, 
arms around each others waists, also join 
in. Sure, it’s a didactic moment, but it’s 
also one that wrestles with a lot of prob- 
lems before arriving at its conclusion: 
“Before we take on anyone else, let’s get 
ourselves together first.’’ For all the — 
quite legitimate — challenges the early 
punks posed, they never could get 
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14 


THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


Gray 


Continued from page 5 

case you didn’t know what 
this is, it’s that.’ Too many 
footnotes. I knew I had to break it 
up somehow, and when I tried the 
dictionary thing, it became this 
huge puzzle finally put together 
by dovetailing of time and place 
and story. One story would be cut 
off by the time limitation, and the 
audience would go, ‘Ohhh’ — it’d 
be like a cliffhanger. As the time 
went on, the pieces would begin 
to come together in the audience’s 
head.... That’s the most in- 
teresting piece for me now 
because of the chance element. I 
don’t know what's going to come 
out each time, so I can play it over 
and over. It’s like throwing the I 
Ching.” 

For the foreseeable future, 
Gray (who is 38) plans to con- 
tinue his public autobiography. 
One upcoming project, called A 
Personal History of the Ameri- 
can Theater, is a running cgm- 
mentary on all the plays Gray has 
been in since he graduated from 
Emerson College; they range 
hilariously from the Open 
Theater's Terminal to a summer 
stock Under the Yum Yum Tree. 
Some reviewers have speculated 
that such intensely personal work 
may damage Gray by making it 
impossible for him to relate inti- 
mately except with a crowd. I 
mentioned this to him and 
jokingly imagined an audience 
hovering over his loft ‘to watch 


him, eat dinner or. make love. 
“That's an idea for another piece 
that I haven’t gotten to yet,’ he 
said quite seriously, gesturing to 
indicate a tentative arrangement. 
‘I would have 20 people at this 
end, and I would go through what 
I do in the course of a morning, 
juxtaposed with some tapes of my 
father talking about what he 
does.” What, I wondered, would 


‘this mean? ‘What energizes my 


life and my performance,” he ex- 
plained, “is that certain memories 
need to be told over and over until 
they don’t need to be told any- 
more. If I’m out in New York 
City in the course of a day, I’ve 
got to find somebody — Liz or 
someone — to come back and 
report certain incidents to; if I 
don’t report them, I feel stifled 
and claustrophobic and neurotic. 
Beyond that, I don’t analyze it. 
The need is to tell a story. The 
audience perceives that need.”’ 
Exposing one’s life so relent- 
lessly in the theater might be 
assumed to reflect a monstrous 
egotism, but Gray seems more 
self-effacing than self-obsessed. 
“| don’t have a strong concept of 
self,’ she admitted. ‘I do feel 
myself to be an onion. I keep 
peeling and peeling. One thing I 
realized is that I was an actor 
before I chose to be an actor. I 
was always circling around the 
outside, and that kind of ‘I alone 
have escaped, to tell you’ became 
my signature as an actor. I think 
it comes out of my terrific fear of 
death. I’m trying to create my 
own world in which I am dying 
all the time and returning from 


the dead for the Last Judgment. 
All Christians have this Tahtany 
that the supreme moment will be 
that last judgment with God. 
When I gave up the idea of re- 
ligion, I had to make my audience 
God, and the last judgment 
becomes all the time.”’ 


Loretta 


Continued from page 4 
disintegration. But can the 
movies, with their unique inti- 
macy, show us how a good mar- 
riage works? (And are there film- 
makers who've kept a marriage 
together long enough to know?) 
A partial answer comes from 
unexpected quarters: 
Michael Apted’s Coal Miner’s 
Daughter, a careful, touching 
adaptation of the autobiography 
of country singer Loretta Lynn, 
which floats along very beauti- 
fully for an hour and then falls to 
pieces. Probably Apted and 
screenwriter Tom Rickman never 
set out to make a movie extolling 
marriage. But they must have dis- 
covered early on that Lynn’s dur- 
able relationship with her hus- 
band Doolittle (nicknamed 
“Mooney” because of his moon- 
shining past) was the one ele- 
ment that separated her rise-to- 
fame story from all the others. 
Better still, here was the oppor- 
tunity to depict nuptial bliss 
without leavening it with con- 
temporary cynicism — or 
schmaltz. For Loretta (Sissy 
Spacek) and Doolittle (Tommy 
Lee Jones) came from a pocket of 


director. 


American society that’ Sas re- 
mote from current’ morés as Pata- 
gonia: they were hillbillies, and 
they lived in a rugged coal-min- 
ing community known as But- 
cher Hollow, Kentucky. Work- 
ing on location in the backwoods 
of Appalachia, Apted (the Brit- 
ish director of Agatha and Star- 
dust) has turned Lynn’s life into 
a Rousseau-esque myth: the no- 
ble savage goes Nashville. In their 
simple, stripped-down mountain 
world, Loretta and Doolittle find 
love as casually and -spontane- 
ously as a pair of puppies. We 
come to believe that they under- 
stand some ancient, unspoken se- 
cret, lost to our hustle-bustle cul- 
ture, that they’re living ‘‘natural- 
ly,” that their impulses are pure — 
pure enough, that is, to vindicate 
a grown man’s betrothal to a 13- 
year-old girl. We've had hillbilly 
stories before (The Real McCoys, 
Ma and Pa Kettle, The Beverly 
Hillbillies), and most-have used 
folksy simplicity to browbeat 
contemporary slickness. But Coal 
Miner’s Daughter does more: it 
makes the hillbilly world a monu- 
ment of Americana, a place where 
the New-Age_back-to-the-land 


- sensibility of the left and the red- 


neck chic of the right can share a 
peaceable kingdom; where Amer- 
ican goodness and ingenuity can 
triumph without jingoism, and 


where the shroud of civilization. 


can be torn away to reveal the hu- 
manity underneath. 

At the beginning of Coal 
Miner’s Daughter, Doolittle has 
just returned from World War II 
and is showing off his Jeep to the 


home-town boys They ooh and 

minute for us to realize that this 
isn’t merely the first Jeep they’ve 
ever seen; some have never even 
laid eyes on a car before. In But- 
cher Hollow, warmth and deso- 
lation have struck a balance. It’s 
the same balance that’s in Ralf D. 


Bode’s cinematography. Out-’ 


doors, all is drizzle and mud; the 
light is gray, and wintry skies 
glower at shanties and pine trees 
and one-room schoolhouses. But 
when the filmmakers take us in- 
doors, something changes. The 
walls may be covered with news- 
paper and the furniture may still 
have tree-bark on it, but the 
songs of Kitty Wells and Red 
Foley crackle over the radio. And 
in this world of ragged kids and 
gaslamps, the light is deep gold: 
the color of firesides, of yellowed 
pages and old photographs. But- 
cher Hollow is a harsh yet ideal- 
ized portrait of the American 
past, a never-never land where 
the poor don’t know they’re poor 
and ignorance becomes a sort of 
grace. True, the setting calls up 
visions of the Depression, black 
lung, and Walker Evans photo- 
graphs — indeed, rock drummer 
Levon Helm (formerly with the 
Band), who’s very moving as 
Loretta’s father, and folksinger 
Phyllis Boyens, who brings a sor- 
rowful dignity to her portrayal of 
Loretta’s mother, look as though 
they stepped from the pages of 
Let Us Now Praise Famous Men. 
But this is also the mythic ground 
from which an Abe Lincoln might 
have sprung — or a Citizen Kane 


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neers and cowboys and deer- 
slayers. 

Apted is very careful not to 
move too quickly over such ter- 
rain. He underplays his jokes, 
though they often approach slap- 
stick, and the best lines come very 
quietly. He knows we'll have to 
linger for a moment here, that 
we'll have to get over the dis- 
comfort of looking at poverty; 
only then can we understand the 
joy his characters display, the 
fierceness of their devotion to 
such a forbidding homeland. His 
method works. For its first hour, 
Coal Miner’s Daughter is as 
buoyant a piece of filmmaking as 
I’ve seen in months. And much of 
the pleasure is in the acting. As 
Doolittle, Tommy Lee Jones gives 
the beefy, sly, good-humored 
portrayal of which he’s seemed 
capable ever since 1976's Jack- 
son County Jail. And Sissy 
Spacek delivers the performance 
of a lifetime. With her pallid face, 
her wispy curls, and her soft, in- 
sinuating eyes, Spacek makes 
Loretta a prodigy of instinct and 
innocence and guts. Marching 
around in her bobby-socks and 
her frowzy stocking cap, she’s a 
mercurial creature, a child in 
whom the future lover, mother, 
and superstar intermingle. Spacek 
is 30 years old, but she’s the only 
actress I know of who can play 
childhood and adulthood with 
equal conviction. Instead of simu- 
lating adolescence, she puts her- 
self in a sort of teenage trance; the 
eyes that stare out at us are a 13- 
year-old’s eyes. Which is why her 
young Loretta never falls into the 
sort of forced jauntiness that most 
adult actresses adopt to appear 
youthful. Apted gives her time to 
relax, to be solemn or laid-back or 
shy, to suggest the shifting moods 
of a strong yet unformed person- 
ality. 
He also has a fine command of 
narrative rhythm, and every so 
often he unbridles his story and 


-91 


spurs it to an exuberant gallop. In 
the film’s best scene, the town 
gathers at the schoolhouse for a 
pie social: the girls bake pies, 
which are auctioned off to the 
men; and the highest bidder gets 
to take the pie-maker home. 
Amid bright lights, twangy mu- 
sic, and jubilant country folk, 
Doolittle bids for Loretta’s pie — 
which she has unwittingly made 
with salt instead of sugar. The 
camera dances from the face of 
Doolittle’s plump rival to that of 
an apple-cheeked cherub who, 
with a look of giddy mirth on his 
face, holds Loretta’s pie aloft for- 
inspection. Doolittle keeps shak- 
ing his craggy head and raising 
the bid, Loretta blushes and 
squirms, and the flood of inno- 
cence and high spirits nearly lifts 
you out of your seat. Through- 
out this film, people seem to be 
having a good time; you can catch 
them in the corners of the frame, 
giggling and bobbing their heads. 
Indeed, Spacek and Jones get so 
much fun out of their mountain 
accents that their mild joshing 
soon seems as pungent as the 
badinage of a Coward or Shaw. 
The first half of this movie makes 
happy simpletons of us all. 

Apted and Rickman sustain the 
high-kicking mood for an awful- 
ly long time: through the first 
rocky days of the Lynns’ mar- 
riage; through their move to the 
state of Washington, where the 
domineering Doolittle decides he 
likes the way Loretta sings to their 
four children and buys her a gui- 
tar; through the euphoric scenes in 
which Loretta and Doolittle cut a 
record in a cheap studio and then 
drive all over Kentucky and Ten- 
nessee, peddling it to disc jockeys 
and cajoling airplay out of them. 
Here the filmmakers do lovely 
riffs on the old you-and-me- 
against-the-world theme. It’s 
Doolittle, a ‘natural’ business- 
man guiding Loretta, a “natural”’ 
musician, up the ladder of suc- 
cess: every newlywed couple’s 


ipsmabul jeg) ot 101 bepb, od 
dream. The Lynns wear their ig- 


norance like a halo; for them, am- 
bition needn’t entail corruption, 
nor climbing greed. In Loretta and 
Doolittle, goodness is steadily re- 
warded; they get by on countri- 
fied purity and their magical mar- 
riage. Indeed, Coal Miner’s 
Daughter often seems to be a 
Dogpatch morality play, in which 
we watch the salt of the earth in- 
herit the Kingdom. And Apted 
and Rickman nearly get away 
with it. They're wary of senti- 
mentality and hero-worship, and, 
wisely, they know that they can 
keep us in their thrall as long as 
they trace their characters’ trans- 
formations carefully, with an eye 
for the intimate detail. Always, 
the focus is on the marriage. And 
so, when Loretta makes her shy 
debut at a local saloon, Apted’s 


. camera shifts from her increas- 


ingly confident face to Doolittle, 
who wanders through the crowd, 
silently rousing support for his 
wife, checking audience reac- 
tions, and occasionally just rock- 
ing back on his heels and beam- 
ing, like a kid who’s just found a 
shiny dime. Potentially sudsy 
scenes, like the one in which Doo- 
little takes Loretta’s publicity 
photo, using a bedspread for a 
backdrop and a pot for a reflec- 
tor, are quick and understated. 
And best of all, the film pays spe- 
cial attention to the growth of 
Loretta’s voice. Sissy Spacek did 
all her own singing in this film (as 
did Beverly D’Angelo, who does a 
remarkable portrayal of Loretta’s 
mentor, Patsy Cline), and if she 
never reaches the plaintive 
heights that the real Loretta Lynn 
scales, she also avoids the shrill, 
off-key renderings that made 
Gary Busey’s otherwise magnifi- 
cent Buddy Holly and Bette Mid- 
ler’s The Rose sound so bad on 
the home stereo. The crooning 
that Spacek does as she putters 
around the house and washes the 
dishes is quiet and unspectacu- 
lar, but occasiondlly she'll hit a 


lovely high note or pull a’ perfect 
melisma like a rabbit from a hat. 
Then, as she practices amid 
screaming children and an or- 
nery washing machine, the voice 
gains strength and assurance. 
And finally, when she first ap- 
pears at Nashville’s Grand Ole 
Opry, she has become polished 
and stylish, the tone sliding into 
place from a stylized hoarseness 
with wonderful ease. Spacek uses 
her voice the way most actors use 
their walk and gestures: to sug- 
gest character development. 

The view of marriage in Coal 
Miner’s Daughter is not a simple 
one. The quarrels, the power 
struggles, the little cruelties — all 
are here, as they must be. The 
Lynns’ marriage teeters precari- 
ously at times, but it always snaps 
back, and this seems a testament 
to its roots in that pristine Ken- 
tucky soil. In fact, the film traces 
an algebra of love and success: as 
long as Loretta and Doolittle can 
hold onto their marriage, they re- 
main in touch with their roots, 
and those roots feed Loretta’s 
songs. Remove one element, and 
the whole thing topples. And yet 
the balance of power in their re- 
lationship must shift as Loretta 
rises and feels her strength; their 
roles must, in some degree, re- 
verse. And such a metamorpho- 
sis should have been fascinating 
to watch. 

But I’m afraid it’s at this point 
that the movie collapses. As soon 
as Loretta makes it to glittery 
Nashville, Coal Miner’s Daughter 
becomes sketchy, reticent, and 
trite: a drab lonely-at-the-top 
melodrama that tramps the 
same soggy ground as The Bud- 
dy Holly Story, The Rose, Elvis, 
and even A Star Is Born. There 
are the usual concert scenes, the 
scenes on the tour bus, the head- 
aches and pills, and finally an on- 
stage breakdown that pales next 
to the one Ronee Blakley brought 
off so poignantly when she 
played a Loretta Lynn-like figure 


in Nashville. Ralf Bode’s cine® 
matography gleams here; the 
light becomes brighter, more flat- 
tering, more show-biz — all of 
which should create an air of lurid 
unreality. But Apted is rushing 
through this material, working in 
a weirdly archaic style (I half-ex- 
pected to see calendar pages be- 
ing ripped away, one by one), and 
so the atmosphere is unreal in a 
different way; the facts of Loret- 
ta Lynn’s life begin to feel like fic- 
tion. The Patsy Cline character is 
given such short shrift that we 
never understand what she is 
meant to represent — hardened 
superstar, bad influence, or lov- 
ing friend. In the end, the film be- 
comes a runaway carousel, and 
when Apted finally returns to a 
scene of playful bickering be- 
tween Loretta and Doolittle, he 
seems to be clutching that old 
marriage motif for dear life. 

And when Coal Miner’s 
Daughter finally collapses, even 
its sundry beauties seem some- 
how forlorn. For in camouflag- 


ing this happy-marriage story in. 


the trappings of legend, Apted 
and Rickman have failed to look 
deeply enough into what made 
the marriage work. When the 
conjugal knot is tied, it’s in a 
world totally unlike ours — and 
when the Lynns finally burst in- 
to our world, where the strength 
of that knot is tested, the film- 
makers blink. In so doing, they 
miss something even more cru- 
cial. They miss the joy and terror 
that Loretta Lynn must have felt 
as she made her dizzying ascent 
and watched the past drop away 
beneath her. Indeed, by the end, 
we may be surprised to see how 
little we understand of the real 
Loretta and Doolittle, the ones 
who aren’t mythic creatures, the 
ones who live among us still. All 
we know is that Loretta and Doo- 
little keep going somehow — and 
that leaving their harsh Eden in 
the Kentucky hills has only made 
the going rougher. . 


O861 ‘LL NOILOSS ‘XINJOHd NOLSO@ SHI 


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The Best Contemporary Band in Bluegrass today 


LDOM 
Saturday 


MAR 22nd 


_ Sanders Theater — Harvard University 


2shows — 7 & 10 pm 
*Tickets $8 and $6 


available by mail from The Boston Area Friends of Bluegrass Box 127, No. Cambridge, MA 02140 
Tickets also at Sandy’s Music, 896-A Mass. Ave. (491-2812) 
& Cambridge Western Wear, 1154 Mass. Ave. (868-0959) 


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The Boston Ballet perform Balanchine’s La Sonnambula, Taylor’s 
Aureole, and Ron Cunningham's Estuary at 2 p.m. at the Music 
Hall. Tickets $4-$15. 


Silly Wizard, a six-piece band, play traditional Scottish folk songs, 
ballads, and instrumentals at 8 p.m. at the First Congregational 
Church, 11 Garden St., Cambridge. Admission $4.50. 


George Shearing and Bill Evans tickle the keys at a Boston Globe 
Jazz Fest concert at 8 p.m. at the Berklee Performance Center. 
Tickets $8.50-$9.50. 


10 


Laurie Anderson: 


Laurie Anderson and Rhys Chatham share an interesting bill, full of 
music, electronics, and multi-media works by both artists. The 
event takes place at 8 p.m. at the Institute of Contemporary Art, 955 
Boylston St., Boston (266-5152). Admission is $4, with reduced 
rates for members of the ICA ‘and the Boston Film/Video Founda- 
tion (BF/VF). 

Perfect Pictures, a staged reading about a woman’s confrontation 
with questions about two failed marriages and her own identity, is 
presented at 8 p.m. at the Next Move Theater, 955 Boylston St., 
Boston (482-8100). Tickets are free, requested donation is $1. 


The Ramones, dyed-in-the-wool punks, provide a treat for us Bean- 
towners. They play the Paradise today through Thursday at 8:30 
p.m. Tickets $7.50. 


Shear Madness, a murder-mystery set in a Newbury Street beauty 
salon, is staged at 8 p.m. at the Charles Playhouse, Stage II, 76 War- 
renton St., Boston (426-5225). Tix $8-$10. 


Third Rail and the Rings, two of Boston's brightest bands, perform 
at 9 p.m. at Jonathan Swift's, 30 Boylston St., Harvard Square, 
Cambridge (661-9887). Tickets $3. 


Meg Christian 


Meg Christian, Maxine Feldman, and pianist J.T. Thomas present a 
concert of women’s music, signed for the deaf, at 8:30 p.m. at San- 
ders Theater. Donation $6. 


Worl’ Do for ‘Fraid: An African Homecoming, one of the first 
African dramas in contemporary theater, is staged today through 
Saturday at 8 p.m. and Saturday and Sunday at 2 p.m. at the BAG 
Theater, 367 Boylston St., Boston (267-7196). Tickets $3-$4. 


The Carla Bley Orchestra play new jazz with the Fringe at 8 p.m. at 
the Berklee Performance Center as part of the Boston Globe Jazz 
Fest. Tickets $7.50-$8.50. 


‘Mr. Blue Suede Shoes himself, Carl Perkins, performs at Alan's 


Truth Stop Re 495.4 ‘SOQmAmesbury. Tickets $5. 

Hold Me/Let Me Go, a collage of mother/daughter relationships, is 
staged today through Saturday at 8 p.m. at Reality Theater, 26 
Overland St., Boston (262-4780). Tix $3. 

A Woman Is a Woman and Vivre Sa Vie are the films playing this 
week at the ICA’s Godard retrospective. Woman is shown today at 
5:30, 7:30, and 9:30 p.m.; Vivre is screened Friday at the same 
times. Call 266-5151 for more info. 

Semenya McCord, Alida Rohr, Billy Thompson, and others at 7:30 
p.m. at Berklee. Tix $4-$5. 


Hold Me/Let Me Go 


Human Sexual Response respond to the Coalition for Direct Action 
at Seabrook in a benefit performance for the Clams at 8 p.m. at 
Mass. College of Art, 364 Brookline Ave., Boston (661-6204). 
Tickets $4.50. 

John Lincoln Wright and the Sour Mash Boys are back together for 
one last time (before John heads for Nashville to find fame and for- 
tune) at 9:45 p.m. at the Inn Square Men’s Bar, 1350 Cambridge St., 
Cambridge (491-9672). Special guests are expected. Tix $2. 
Vinyl, Andy Warhol's first version of Anthony Burgess’s Clock- 
work Orange, is screened (with Warhol stable member Ondine on 
hand to answer questions) at 9 p.m. at BF/VF, 39 Brighton Ave., 


Allston (254-1616). 

Maurizio Pollini gives a piano recital including works of Schu- 
mann and Chopin at 8 p.m. at Symphony Hall (266-1492). Tickets 
$7-$10. . 

Lene Lovich, one of Stiff Records’ oddest and most fascinating dis- 
coveries, makes her first Boston appearance at the Paradise today 
through Sunday at 8:30 p.m., with an added Saturday show at 11 
p.m. Tickets $7.50. 

Dizzy Gillespie and Carmen McRae perform at 7:30 and 10 p.m. as 
part of the Globe Jazz Fest at the Berklee Performance Center. 
Tickets $9.50-$10.50. 


Spalding Gray performs his improvisational monologue, India and 
After (America), at 8 p.m. at BF/VF, 39 Brighton Ave., Allston 
(254-1616). Admission $3. 

The Third Annual Great Boston Egg Race takes place at the 
Museum of Science. For all of you who are new to town, and for 
others who have not had the good fortune to attend the event, the 
egg race involves transporting an egg (any grade) as far as possible, 
using only the energy that can be had froma # 10 rubber band. The 
course is 25 meters long and 2.5 meters wide, and the vehicle 
traveling the greatest distance wins. Call the Museum at 723-2500 
for complete information. 


Live from NYC is a dance performance of ex-Bostonians (Jane 
Setteducato, Hallie Wanamaker, and Christina Nichols) returning 
from New York to strut their stuff today and Sunday at 8 p.m. at 
the Joy of Movement, 536 Mass. Ave., Cambridge. Tix $3.50. 
The New England Spring and Garden Flower Show takes place 
today through March 23 from 10 a.m. to 10 p.m. at Common- 
wealth Pier Exhibition Hall, 170 Northern Ave., Boston. 

Eddie Palmieri Orchestra, La Dimension Latina, and Dizzy Gil- 
lespie present an evening of Latino jazz in the last performance of 
the Boston Globe Jazz Fest, at 7 and 10 p.m. at the Berklee Perform- 
ance Center. Tickets $8.50-$9.50. 


Adieu Philippine 


Phyllis Hyman, some say the next Lena Horne, appears with Hiro- 
shima at 7 p.m. at the Berklee Performance Center. Tix $8.50. 
Adieu Philippine, one of the gems of the French New Wave, is 
shown at 7:30 p.m. at the Harvard-Epworth Church, 1555 Mass. 
Ave., Cambridge (354-0837). Tickets $1.50. 

Ronnie Gill, Mae Arnett, Dee Kohanna, Stanton Davis, and Gray 
Sargent perform in a special jazz evening at 6 p.m..at Emmanuel 
Church, 15 Newbury St., Boston. Donation $3.50. 

The Vienna Choir Boys, 22 round-eyed cherubim, sing from the 
works of Kodaly, Schubert, Verdi, Poulenc, and others at 3 p.m. at 
Symphony Hall (266-1492). Tickets $6.50-$9.50. ; 


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THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


by Clif Garboden 


SUNDAY 


Noon (38) Dr. Strangelove (movie). Peter Sellers 
and George C. Scott in the famous 1964 bomb 
comedy. 
Noon (56) Ensign Pulver (movie). Robert Walker, 
Burl Ives, and Walter Matthau pick up where Mr. 
Roberts and the crew left off. Made in 1964. 
3:00 (2) Evening at Symphony. Ozawa and the 
BSO do Haydn's Sonata Vi, Consummatum Esti, 
from the Seven Last Words of Our Savior Upon the 
Cross, and Berlioz’s Harold in Italy, with Pinchas 
Zukerman. 
3:30 (5) The Undersea World of Jacques 
Cousteau: Cousteau in the Antarctic, “The Flight of 
Penguins.” Mysterious little black-and-white 
creatures closely watched by Frenchmen. 
4:00 (38) To Kill a Mockingbird (movie). Gregory 
Peck and Mary Badham star in this 1963 adapta- 
tion of the popular novel by Harper Lee. 
5:00 (2) Songs of a Lusty Land. Traditional songs 
of love, war, work, and jail sung by Tennessee 
Ernie Ford, Merle Haggard, Kay Starr, and Sons of 
the Pioneers, Linda Hopkins, and Tom T. Hall. 
Pledge-drive stuff will interrupt this presentation 
every few bars. 
7:00 (2) Fawlty Towers. Basil (John Cleese) fights 
a losing battle against sex. 
7:00 (5) Sinbad and the Eye of the Tiger (movie), 
part Il. Patrick Wayne and Jane Seymour star in 
the conclusion of this Mideast swashbuckler. 
7:00 (38) Hockey. The Bruins vs. the Hartford 
Whalers. 
7:00 (56) Star Trek, “The Immunity Syndrome,” A 
tele amoeba invades the galaxy, and Kirk sends 
pock, not Bones, on a suicide mission into the 
protoplasm. Bad choice there. 
8:00 (2) The Voyage of Charles Darwin: /n the 
Distant Future, Light Will Be Thrown on the Origin 
of Man and His History. \f the Good Lord's willing 
and the creek don't rise. This final episode in- 
cludes the publication and subsequent contro- 
versy over the famed naturalist's The Origin of the 
Species. 
8:00 (56) Key Largo (movie). Humphrey Bogart, 
Lauren Bacall, and all the usual heavies star in a 
1948 drama of love, loyalty, brutality, terror, and 
courage. And it's fun, too. 
9:00 (4) Battles (movie). William Conrad, Jose Fer- 
rer, and Robin Mattson star in a made-for-TV 
drama about a retired cop who moves to Hawaii 
and ends up investigating his brother’s murder. 
9:00 (5) Amber Waves (movie). Dennis Weaver 
and Kurt Russell star in an all-American send-up 
about reaffirmed values and the heartland har- 
vest. 
9:15 (2) M Theater: The Duchess of 
Duke Street part XIll. If you thought you'd seen 
the Bentinck staff gossip before, wait until Louisa 
and the Major walk through the door with Lottie. 
10:30 (2) Dick Cavett with Alistair Cooke. An 
hour-long mutual interview. 
11:30 (2) Cold Nights: Single Parent. Filmmaker 


Hubert Smith's cinema verite piece about a South- 
ern California divorcee raising three kids. 


MONDAY 


7:30 (2) The World of the Beaver. Nothing to do 
with Wally or Mr. Cleaver. Henry Fonda narrates a 
wildlife documentary on the life cycle and life's 
work of a family of flat-tailed chompers. 

8:30 (2) National Geographic Special: The 
Invisible World. Amazing applications of revolu- 
tionary microscopy and macro-photography 
techniques reveal the glorious details of little 
teeny-tiny things and faraway stars. 

9:00 (4) From tere to Eternity — Pearl Harbor. A 
special premiere of a new series based on the 
controversial novel by James Jones (not that one). 
Don Johnson, William Devane, Barbara Hershey, 
and Roy Thinnes star. The first regular episode 
airs Wednesday at 10 p.m. 

9:00 (44) Dickens of London, part Vill. Charles as a 
successful 25-year-old writer spending a less- 
happy-than-expected holiday with his family. Book 
the Eighth: | Am Bitten by Children. 


TUESDAY 


7:30 (5) The Muppets. Jim Henson and his acrylic 
athletes are joined by guest host Anne Murray. 
8:00 (7) The Ordeal of Dr. Mudd (movie). Dennis 
Weaver and Arthur Hill star in a dramatization of 
Dr. Samuel Mudd’s long struggle to clear his name 
in Lincoln-assassination-conspiracy theories. 
8:00 (56) Valdez Is Coming (movie). Burt 
Lancaster, Susan Clark, and John Cypher star in a 
hard-to-explain 1971 action drama about a Mex- 
ican-American sheriff trying to raise money to help 
the pregnant widow of a black murder suspect he 
shot by mistake. 

8:30 (4) Coming Together. First of a two-part 
series on black-on-black crime. Tanya Hart talks 
with Boston Police Commissioner Joe Jordan, De- 
troit Mayor Coleman Young, Detroit Police Chief 
William Hart, and psychiatrist Frances Welsing. ~ 
8:45 (2) Nova: The Safety Factor. A treatment of 
the topic of air-traffic safety, centered on a sample 
DC-10 flight across the Atlantic. The film crew flew 
with Laker. It figures they couldn't get on 
American. 

9:00 (7) The Plutonium Incident (movie). Janet 
Margolin stars as a poisoned employee at a nu- 
clear-materials facility facing the usual bullshit 
from the investors. 

9:45 (2) Mystery: Rebecca, part |. The first of a 
four-part adaptation of Daphne du Maurier’s 1937 
suspense yarn about the nubile lass who weds the 
Cornish gentleman of her dreams only to discover 
that he sulks. Jeremy Brett and Joanna David star. 
10:30 (4) United States. Premiere of a new series 
with Beau Bridges and Helen Shaver in traditional 
sit-com roles, 

11:30 (4,5,7) Primary Stuff. Results from Florida, 
Alabama, and Georgia. 


woes 


WEDNESDAY 


8:00 (2) Fred Astaire: Change Partners and 
Dance. More Astairian biography, this hour cover- 
ing the latter years of his career (Fred's not dead; 
he's just stepped out). The post-1939/RKO period. 
8:00 (38) Tennis. Live coverage of the Avon Ten- 
nis Championships from the Walter Brown Arena. 
9:00 (7) To Race the Wind (movie). A dramatiza- 
tion of the life story of Harold Krentz, a blind man 
who managed to graduate from Harvard College 
and from Harvard Law School. 

10:00 (4) From Here to Eternity. Further lurid war- 
time adventures starring William Devane and a 
bevy of chippies with hairstyles 35 years ahead of 
their times. 

10:15 (2) Hollywood: The Selznick Years. As you 
know by now, the quarter-past starting time. 
indicates 15 minutes of scheduled fund-raising. As 
you're learning from experience, since they tell us 
(and expect us to tell you) that you can tune in at 
10:15 and see a show, if you do, you'll see a little 
run-over fund-raising. Nothing is free. A tribute to 
David O. Selznick with words of praise from Ingrid 
Bergman, Gregory Peck, Janet Gaynor, Dorothy 
McGuire, Joan Fontaine, Joseph Cotten, Alfred 
Hitchcock, George Cukor, and King Vidor. 

2:00 a.m. (5) Five All Night Live. Matt Siegel 
dedicates a show to the ‘50s. Guests include Alan 
Ginsberg, DJ Little Walter, and wrestling great Kil- 
ler Kowalski (now living in Reading, Massachu- 
setts). Plus a discussion on the pros and cons of 
reviving the Cold War and a ‘50s fashion show. 


THURSDAY 
7:30 (38) Hockey. The Bruins vs. the Detroit Red 
Wings 


gs. 
8:00 (2) The Cousteau Odyssey: / ost Relics of the 
Sea. Captain Cousteau takes a deep look at what's 
left of some famous shipwrecks. 

8:00 (56) Star Trek, “A Private Little War.” In this 
special mid-week edition, the Klingons introduce 
the flintlock to a primitive planet and Kirk is bitten 
by the Mugato, then seduced by a local hill chief's 
wife. 

9:00 (44) Hudson River. Traveling toward Albany 
with Pete Seeger and his floating public-relations 
sloop, the Clearwater. A history of the mighty Hud- 
son and a look at recent attempts to reclaim it from 
mire. 

9:00 (56) NIT Basketball. The National Invitational 
Tournament live from Madison Square Garden. 
Thirty-two teams. Count 'em. 

10:00 (2) Pavarotti: King of High C’s. At home with 
the superstar tenor. The face that last year graced 
Time, the weekly news magazine, smiles at cam- 
eras as they invade the privacy of his home in Mo- 
dena. 


FRIDAY 


8:00 (4) Boomer. Premiere of a new comedy ad- 
venture series starring a dog. Each week the lov- 
able canine will stray into the life of a family in need 
and, you might have guessed, be instrumental in 
its salvation. Tonight, he rescues a lost deaf girl. 
8:00 (5) When the Whistle Blows. Another new 
series, this, it would seem, designed to ride the 
coattails of Skag. Of course, Skag’s been canned, 
but anyway viewers can keep in touch with the na- 


tion's Watching Doug 


Sweet, and Philip Brown play construction work- 
ers with eventful off-the-job lives. i 

8:30 (4) Facts of Life. A sublimated-sex sitcom 
starring Charlotte Rae (we're meant to mention 
here that she was the housekeeper on Diff’rent 
Strokes; don't know if that makes her famous or 
not) as the matron of a house at an exclusive girls 
school. 

9:00 (38) Hockey. The Montreal Canadiens vs. the 
Winnipeg Jets. 

9:15 (2) TV: The Fabulous '50s. Not so fabulous if 
viewed objectively, but valued beyond reason be- 
cause we were just kids. Mostly this special will 
deal with the best of the era — live drama’ imova- 
tions, etc. Hosts include the late David Janssen, 
Lucille Ball, Michael Landon, Mary Martin, Dinah 
Shore, and Red Skelton. : 

10:00 (4) The Best of Saturday Night Live. A St. 
Patrick's Day rehash. 

1:00 a.m. (4) The Midnight Special. Andy Gibb 
hosts Tom Petty and the Heartbreakers, Queen, 
and Paul Warren and Explorer. 


SATURDAY 


1:00 (38) Hockey. The Bruins vs. the Vancouver 
Canucks. 

1:00 (56) Destroy All Monsters (movie). Mean 
people from the planet Kilack free the monsters of 
earth, who, by 1999, are no longer needed in 
Japanese movies and have been imprisoned on a 
remote island. 

2:30 (56) The Valley of Gwangi (movie). Truly, 


James Franciscus's finest film moments are to be’ 


found here. Man follows miniature horse into a 
pre-historic township of Mexico and is followed 
back to church by a dinosaur. 
4:00 (56) Beach Party (movie). Bob Cummings, 
Dorothy Malone, and Frankie Avalon star. Lust- 
crazed teens throw pies at middle-aged 
sociologists. 
4:30 (2) Austin City Limits. Performances by 
Ralph Stanley and the Clinch Mountain Boys and 
by Uncle Walt's Band. 
7:00 (56) Star Trek, “Return to Tomorrow.” Tired 
of living in foam-rubber spheres, three super be- 
ings borrow the corporeal realities of Kirk, Spock, 
and Diana Muldaur. 
7:30 (44) Frankie and Johnny. The first American 
ballet, staged by choreographers Ruth Page and 
‘Bently Stone. 
8:00 (2) Gi Jive. Return with hosts Van Johnson 
and June Allyson to the legendary Roseland Ball- 
room to witness such performances as delighted 
the troops during World War II. Showcased talent 
includes Maxene Andrews, Cab Calloway, Maxine 
Sullivan, Hildegard, and Andy Russell. 
as Ae Basketball. The Celtics vs. the New York 
nicks. 
8:00 (44) Affair in the Air. A documentary filmed at 
the 1977 Experimental Aircraft Association Fly-in 
Convention in Oshkosh, Wisconsin. 
11:15 (2) Great Performances: On Giant's 
Shoulders. A BBC drama (winner of the 1979 
International Emmy) based on the true story of a 
couple who adopted a Thalidomide-damaged 
child. Judy Dench and Bryan Pringle star as the 
parents; Terry Wiles, the son, plays himself. 
11:30 (4) Saturday Night Live. 
2:00 a.m. (5) Five All Night Live. Matt Siegel hosts 
WBCN DJ Oedipus for a look at punk fashion and 
music. Plus a tape presentation of Boston new- 
wave bands entitled “Death to Disco.” 


Airwaves 


by Billy Pope 


SUNDAY 


8:00 a.m.-noon (WBCN) Boston Sunday Review. 
» “AS to International Women’s Day.” This spe- 
cial i des a discussion by Judy Sutphen of the 
DES Identification Project about the lawsuit 
against manufacturers of the drug formerly used to 
prevent miscarriage, plus a look at women’s sup- 
port groups on the job with Scotti Welch, author of 
Networking. 
8:30° a.m. (WCAS) Peacework. As part of the on- 
going series on artists and social change, activist 
singer/songwriter Charlie King discusses and per- 
forms his music. 

9:00 a.m. (WCAS) Foreign Policy Report. 
“Whatever Happened to Jimmy Carter's Human 
Rights Campaign?,” a discussion with peace acti- 
vist Kathy Knight. a 
10:30 a.m. (WCAS) NOW We’re Talking. An inter- 
view with the organizers of the “Greenlight” anti- 
rape program in Allston-Brighton and a look at the 
results of the Massachusetts primary from a 
woman's perspective. 
Noon (WGBH) Masterpiece Radio Theater. Les 
Miserables, part XIV. Marius joins the Friends of 
the Poor at the barricades as Paris plunges into 
the riots of 1832. Repeated Monday at 10 p:m. 
1:00 (WGBH) Boston Artists Ensemble. The En- 
~—_ perform Mendelssohn's String Quartet in E 
minor. 
1:00 (WCRB) Music from Ireland. Philip Green 
conducts his own work: St. Patrick’s Mass. 
2:00 (WBZ) Basketball. The Celtics vs. the 
Washington Bullets. 
2:00 (WGBH) The New England Women’s 
ymphony. From Jordan Hall, a performance of 
Grimani’s Two Sinfonie, Howe's Spring Pastoral, 
Van de Vate's Concertpiece for Violincello, Perry's 
A Short Piece, Tailleferre’s Concertino for Harp, 
and Warren's Singing Earth. 
2:00 (WBUR) Sunday Opera. Herbert von Karajan 
directs a performance of Verdi’s Don Carlos, with 
Carreras, Freni, Ghiaurov, and Cappuccilli. 

:00 (WCAS) Jazz from the Sunflower Cafe (live). 
A performance by the Craig Purpura Quartet. 
3:00 (WCRB) New England Concert Hall. Andre 
Prieur conducts the Newton Symphony Orchestra 
in Saint-Saens's Piano Concerto No. 2, with An- 
drew Wolf, and Brahms's Symphony No. 2. 

3:00 (WHRB) Live at Passim. A concert perform- 
ance by How To Change a Fiat Tire. 

4:00 (WGBH) Music of the Black Church. “Mahalia 
Jackson Tribute.” 

6:30 (WBUR) Radio Smithsonian. A visit to the 
Washington home of some extremely rare lions 
and tigers, and a look at how Time-magazine cov- 
ers have portrayed the stars of the entertainment 
world over the last decades. 

7:00 (WBUR) New Letters on the Air. “The Prose 
Poem.” A review of Michael Benedikt's book of the 
same 

7:00 (WITS) Hockey. The Bruins vs. the Hartford 
Whalers. 

8:00 (WGBH) Boston Globe Jazz Festival (live). 
George Shearing and Bill Evans in concert from 
the Berkiee Performance Center. 

8:00 (WHRB) New York City Opera Festival. Imre 
Pallo conducts the New York City Opera Orches- 
tra and-Chorus in Rossini's Count Ory. 

8:30 (WCRB) Sunday Evening at the Opera. 
Malcolm Sargent conducts Gilbert and Sullivan's 
H.M.S. Pinafore, Harry Norris directs their Tria/ by 
ag: ang Willy Mattes conducts Lehar's The Land 
of Smit! 


10:00 (WROR) The Boston Schools. “Theater Arts 
for Children.” Azi Davis, producer/director/actor 
from the Loon and Heron Theater Company. 
10:00 (WBCN) Basement Tapes. The punk-reggae 
of the Specials. 2 

10:00 (WGBH) Folk Festival, USA. “The Third Na- 
tional Women’s Music Festival.” Highlights from 
the 1976 festival feature Holly Near, Annie Diner- 
man, Malvina Reynolds, Betsy Ross, and Cathy 
Winter. 

11:00 (WROR) Mass Communication. Lesiey 
Visser, sportswriter for the Boston Globe, talks 
about opportunities for women in sports journa- 


lism. 
11:00 (WBCN) King Biscuit Flower Hour. The 


Rockets in a performance recorded live from 
Poughkeepsie. ° 


MONDAY 


7:00 (WGBH) The Spider’s Web. Daughter of the 
Moon. This dramatization of Boston resident Greg- 


ory Maguire’s new book, which is about a young . 


girl who longs for a place of her own away from 
her family’s crowded Chicago apartment, con- 
tinues through the week. 

7:30 (WGBH) Reading Aloud. The reading of 
Street Full of People, by William Estes, is heard 
each weekday evening. 

8:00 (WGBH) Boston Globe Jazz Festival (live). 
Performances by the World’s Greatest Jazz Band, 
tap dancer Honi Coles, the New Black Eagle Jazz 
Band, and Dave McKenna and Scott Hamilton. 
8:30 (WBUR) Peacework. “Feminism and Dis- 
armament.” This special on International Women’s 
Day features author Karen Lindsey. 
9:00 (WCRB) San Francisco Symphony. Leonard 
Slatkin conducts Colgrass’s Theater of the Uni- 
verse and Prokofiev's [van the Terrible, with Carl- 
son and Miller. 

11:00 (WITS) Mutual Radio Theater. “Mutiny 
Against George Washington.” This drama series is 
heard each night through Saturday; tosight’s epi- 
sode recounts the true incident of the rebellion 
against our founding father. 


TUESDAY 


4:30 (WGBH) Women Who Wove. “Women in New 

England Mills.” A look at women mill workers in the 

19th century and the issues they faced — debili- 

tating working conditions, child labor, and union 

organizing. 

8:00 (WGBH) Second Festival of Women’s Music. 

From New York City, music and performances by 

Ruth Schonthal, Doris Hayes, Marga Richter, and 

Judith Lang Zaimont. 

8:00 (WBZ) Basketball. The Celtics vs. the Indiana 

Pacers. 

8:30 (WBUR) Gay Way. Jonny Golden, organizer 
- of the recent “Nurturing Men” conference in New 

Hampshire, discusses wt . came out of that 

:00 (WCRB) Chicago Symphony. Charlies Mac- 

kerras conducts an all-Handel concert: a Water 

Music Suite, A Due Cori Concerto, and Royal Fire- 

works Music. 

10:00 (WGBH) Boston Globe Jazz Festival (live). 

Muddy Waters and A Roomful of Blues perform 

from the Berklee Performance Center. 

11:00 (WBUR) Jazz Alivel From Rick's Cafe 

American in Chicago, performances by the War- 


ren Vache-Scott Hamilton Quintet, pianist Adam 
Makowicz, and vocalist Sylvia Syms. 


WEDNESDAY 


4:30 (WGBH) First Amendment and a Free 
. Harvard Law Professor Charles Nesson 
talks about the new restrictions on the press com- 
_ ing out of the Burger Court. 
7:30 (WITS) Hockey. The Bruins vs. the Washing- 
ton Capitals. 
730 (WBZ) Basketball. The Celtics vs. the Hous- 
ton Rockets. 
8:00 (WGBH) Boston Globe Jazz Festival (live). A 
performance by Carla Bley andthe Fringe. 
8:00.(WCRB) Concert Hour. - Riccardo. Muti’ di- 
rects..the New Philharmenia Orchestra_and the 
— Singers in Cherubini’s Requiem in D 
minor. 
9:00 (WCRB) Cleveland Orchestra. Sixten Ehr- 
ling conducts Vaughan Williams's Tuba Concerto, 
with Ronald Bishop, Vaughan Williams's Sym- 
phony No. 5, and Stravinsky's Le Sacre du Prin- 


temps. 

9:00 (WBUR) Legal Line. “Artists and Their 
Rights.” A discussion of copyrights, patents, and 
protection for artists. 

10:00 (WGBH) The Studs Terkel Almanac. Play- 
wright Arthur Miller and photographer Inge Morath 
discuss their book, Chinese Encounters, a chroni- 
cle of their adventures in China. 


THURSDAY 


11:00 a.m. (WBUR) Optioris in Education. 
“Educating Refugee Children,” part V. A report on 
how schools and communities in various areas are 
coping with current waves of refugees. 

1:00 (WGBH) National Town Meeting. “The World 
of the 1980s: America’s Basic Options.” National 
Security Adviser Zbigniew Brzezinski discusses his 
favorite topics — war games and saber-rattling. 
1:30 (WITS) Baseball. The Red Sox’ exhibition 
season opens with a game against the Cincinnati 


Reds. 
4:30 (WGBH) Horizons. “Grady Hospital: It's Like 


Home.” A documentary exploring the Grady Me- . 


morial Hospital, one of the major medical centers 
in the South, with the reputation of being “the poor 
folks’ hospital.” 

7:30 (WITS) Hockey. The Bruins vs. the Detroit 
Red Wings. 

8:00 (WGBH) The Orchestra. “The French Horn.” 
Charles Kavalovski, principal French horn of the 
BSO, discusses his dual career in physics and mu- 
sic, and demonstrates the intricacies of his treach- 
erous instrument. 

8:00 (WCRB) Concert Hour. An all-Chadwick pro- 
gram: Beck, organ, performs the Pastorale in E 
flat, and Kruegar conducts the Royal Philhar- 
monic in the Symphony No. 2. 

8:30 (WBUR) The Struggle. “A National Treasury 
at Last.” A sound profile of W.E.B. Du Bois, one of 
this century's most influential black lead- 
ers/writers/historians. 

9:00 (WCRB) New York Philharmonic. Zubin 
Mehta conducts Brahms's Piano Concerto No. 1, 
with Andre Watts, and Berlioz’s Symphonie Fan- 
tastique. 

10:00 (WGBH) The Black Woman in America. 
Verna Grosvenor and Eleanor Holmes-Norton dis- 
cuss some of the major issues facing black women 
in America. 

11:00 (WBUR) Jazz at the Church. From Em- 
manuel Church in Boston, a fusion-jazz perform- 
ance by ictus. 


FRIDAY 


All day (WCAS) Greenpeace Radiothon. A two- 
day benefit broadcast in support of Greenpeace’s 
efforts to stop the Newfoundland seal slaughter, 
the offshore drilling on Georges Bank, and other 


environmental efforts. 
2:00 (WGBH) BSO (live). Colin Davis conducts 
Schumann's Piano Concerto in A minor, with 
Claudio Arrau, and Schubert's Symphony No. 9. 
4:30 (WGBH) The Advocates in Brief. A debate on 
whether the current federal rate-setting policies for 
the trucking industry are in the interest of ship- 
pers, carriers, drivers, and the public. 
ed (WBZ) Easketbali. The Celtics vs. the Atlanta 
lawks. 
8:00 (WGBH) Samuel Barber Tribute. Calvin 
Simmons conducts the Curtis Symphony Orches- 
tra in an all-Barber concert: Schoo/ for Scandal, 
Knoxville: Summer 1915, Essay No. 2, and the 
Violin Concerto. 


9:00 (WCRB) BSG Retrospective. Steinb OR 


ducts Strauss's Till Eulenspiegel, Ozawa cofiducts 
Respighi's The Pines of Rome, Davis conducts 
Sibelius's Finlandia, and Fiedler conducts *. 


Dvorak’s Symphony No. 9. 

10:00 (WGBH) Boston Globe Jazz Festival (live). 
Dizzy Gillespie and Carmen McRae perform, from 
the Berklee Performance Center. 

Midnight (WGBH) The Blues Hour. The original 
jug bands of the '20s and '30s are recreated by Will 


Shade's Memphis Jug Band, Jug 


Stompers, and several others. 


SATURDAY 


- 10:00 a.m. (WCAS) Recollections. Tom Paxton _ 


talks about his years on the folk circuit. 

Noon (WGBH) Options in Education. “Indian 
Education.” : 
1:00 (WGBH) Jazz Alive! A 1978 New Year's Eve 
performance by tenor saxophonist Joe Hender- 
son and trumpeter Freddie. Hubbard, the Charles 
McPherson Quartet, and a solo performance by 
Leon Thomas. 


1:00 (WCRB) Metropolitan Opera (live). James _ 


Levine conducts Verdi's Don Carlos, with Cruz- 
Romo, Obraztsova, Giacomini, Milnes, and Cheek. 
1:15 (WITS) Hockey. The Bruins vs. the Van- 
couver Canucks. 

2:00 (WCAS) Live from the Tam. Continuing the 
Greenpeace special, a live concert featuring Alan 
Estes, Zion Initation, and Tappin at the Met. 


4:30 (WBUR) Earplay. The Man in 605. This tragi- 


comedy by Alan Gross concerns a’‘down-and-out 
poet who meets a young writer sleazy New- 


York: hotel. 


5:00 .(WZBC) Kangaroo Hour.-An interview with 


‘musician Paula Lockheart, who also takes a turn 

announcing and spinning discs. 

7:00 (WBUR) Firesign World. “TV or Not TV,” part 

1. Proctor and Bergman step out on their own with 

one prediction about short-circuiting ca- 
le TV. 

8:00 (WBZ) Basketball. The Celtics vs. the New 

York Knicks. 

8:00 (WCRB and WGBH) BSO (live). See the list- 

ing for Friday at 2 p.m. 

10:00 (WGBH) Boston Globe Jazz Festival (live). 

An all-Latin program featuring Eddie Palmieri, 

Dizzy Gillespie, and Dimension Latina. 

10:00 (WCOZ) Profiles in Rock. Conversation and 

music with Cheap Trick. - 

11:00 (WDLW) Jamboree, USA. Faron Young per 

forms traditional country, 


WBCN 104.1 FM WDLW 1330 AM 


WBUR 90.9 FM WGBH 89.7 FM 
WBZ 1030 AM WHRB 95.3 FM 
WCAS 740 AM WITS 1510 AM 


WMBR 88.1 FM 
WROR 98.5 FM 


WCOZ 94.5 FM 
WCRB 102.5 FM 
WZBC 90.3 FM 


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5: 
Hero Hy Large: Sun-Sun. 1:30, 3:30, 
10 


CHARLES 1, & (227-1330) 
195-A Cambridge St. 
I: The Rose: Sun-Sun. 1, 3:15, 5:30, 8, 


10:15 
Mi: Sun.-Sun. 1, 2:45, 


n. Call for times. 


Call for feature. 

WICKELODEON CINEMA (247-2160) 
600 Comm. Ave. 

1; Head Over Heels: Sun-Sun. 6, 8, 10, 
Sat-Sun. 2, 4. 

HW: 2001: A Space Odyssey: Sun-Sun. 
6:15, 9, Sat-Sun. 1, 3:30 

OFF THE WALL (354-5678) 
Where’s Boston? Theater, 60 State 


St. 
meng High School: Sun-Tues. 6, 7:55, 


PARIS (267-8181) 
841 Boylston 
Belang There: Sun-Sun. 1, 3:15, 5:30, 
8, 10:15 


"9:15, 5:30, 7:45, 10 
Hi: Fatse: Sun-Thurs. 1:30, 3:30, 5:45, 
8, 10 
Small Circle of Friends: Fri-Sun. Call 
for times. 
PUBLIX CINEMA (482-1288) 
166 Washington Street 
Breaking Point and Lords of Fistbush: 
Sun-Tues. Call for times. 
The 7-Ups and The Choirboys: Wed- 


-SAXON (542-4600) 
219 Tremont St. 
Saturn 3: Sun-Tues. 1, 2:45, 4:30, 
6:15, 8, 10 
A Force of One:Wed-Sun. Cail for 


times. 
SYMPHONY (262-3888) 
252 Huntington Ave. 
Call for features and times. 


BROOKLINE 


CHESTNUT HILL J, I, IH & IV (277-2500) 
Rte. 9 at Hammond St. 

1; All That Jazz: Sun-Sun. 1:45, 4:20, 
7:20, 9:45 


Breaking Away: Sun-Sun. 1:15, 3:20, 


5:20, 7:30, 9:45 


3: 05, 5:05, 7: 30, 9:40 

CIRCLE CINEMA |, Ii & Ili (566-4040) 
Cleveland Circle 

1: Cruising: Sun-Sun. 1:30, 3:30, 5:25, 
7:20, 9:40 

Hi: Being There: Sun-Sun. 1:45, 4:30, 
7:30, 10 


Wi: Chapter Twe: Sun-Sun. 2, 4:40, — 


7:10, 9:50 
CINEMA BROOKLINE (566-0007) 
Washington St. at Rte. 9 
Going in Style: Sun-Thurs. 7:15, 9:15, 
Sun. 1, 3, 5 
Call for new feature: Fri-Sun. 
COOLIDGE CORNER (734-2500) 
290 Harvard St. 
|: Harold and Maude: Sun-Tues. 7:50, 


Sun. 12:55, 4:20 

Real Life: Sun-Tues. 6, 9:35, Sun. 
2: 

Tree 


36 
of Weeden Clogs: Wed-Thurs. 5, 
8:15 
Lest Tange in Paris: Fri-Sat. 7:35, Sat. 
3, 


St. 
30 Steps: Sun-Tues. 5, 8:15 
Vanishes: Sun-Tues. 6:30, 9:50, 


= 


‘sun. 3:50, 5:40 


. 3:30, 7:30 


715, 5:30, 7:45, 9:55 


MIDNIGHT MOVIES 


The following theaters screen filmf - 
, -FRI-SAT on or around midnight. For 


suburban midnights, see suburban  Belmeat Stedle: $1.50 all times. 

listings. Brattle Theater: $2.50 before 6 pm, 

Chestnst Wi: All That Jazz; Breaking $1.50 Wed. Discount coupons 
Away; Kramer vs. able. ; 

57: Cruising; The Central Square: $2.50 before 6 pm, 

Cirele Cisema: Cruising; Being There; $1.50 Wed. Discount coupons avail- 


Chapter Two. able. 

Theater: Rocky Horror Picture Breokiiee: $1.50 at all times. 
Cleveland Circle: $2 for first show. 
Harvard Square: Dawn of the Dead ye $2.50 for last show of 

: Monty Python meets n 
Orson Welles: Richard Pryor in Concert; $2 at 
Harder They Come; invasion of the Harvard Square: $ pm Mon-Fri. 
Bee a — holidays). $2.25 at mid- 
DEA Wickelodecs: avall- 
6000 LS able. 5 admissions for $12. Fs 
i = 
Good deals are subject to change at a 


permanent $1 off at all shows. Mon: 


shirt Mon-Tues. Discount coupons 


too. 
Publix: $1.25 all times. 
& Somerville: $1.25 
Sun-Thurs., $1.50 Fri-Sat. 


day, $1. 50 for seniors till 5 pm. 
Arlington, Capitol & Regent: $1.25 Sun.- 
Thurs., $1.50 Fri-Sat. 


FRIDAY WIGHT AT THE MOVIES oc- 
curs at 7 and 9 pm at the Black- 
smith House, 56 Brattle St., Har- 

vard Sq., Camb (547-6789). 
Mar. 14: “Cesar and Rosalie.” 

SATURDAY MATINEE for the whole 
family occurs each week at 2 pm 
at the Central Sq. Library, 45 
Pearl St., Camb. FREE. Mar. 14: 
“Pippi Longstocking in the 
South Seas.” 


CURRENT FEATURE FILMS are 
screened each FRI at 7:30 and 
10 pm at Brandeis, Levin Ball- 
room, Waltham (647-2167). 
FREE. Mar. 14: “Duck Soup.” 

DETECTIVE PERSONA IN CINEMA 
is presented each THURS at 
6:30 pm at UMass/Harbor Cam- 
pus, Large Science Aud. (287- 
1900, ext. 3234). FREE. Mar. 
13: “Dial M for Murder.” 

PHOTOGRAPHIC RESOURCE CENTER 
(262-1420) sponsors films by 
still photographers each THURS 
at 8 pm at BU's Morse Aud., 602 
Comm. Ave. The cooperation of 
Bell & Howell/Mamiya Co. has 
made this series possible. Tix 
$2.50. Mar. 13: Ralph Steiner. 

THE WESTERN FILM is explored 
each TUES at 7:30 pm by the 

_ American Cinema Society of 
Camb. at Modern Times Cafe, 
134 Hampshire St., Camb. Tix 


als.” 

MASS. COLLEGE OF ART (731-2340), 
corner of Longwood and Brook- 
line Aves., Boston, presents 
films each WED at 7:30 pm in 
room C-9. Mar. 12: Films of Gail 
Vechon. 


- $2. Mar. 11: “The Profession- ~ 


FILMS OF JEAN-LUC GODARD are 
screened each THURS-SUN at 
5:30, 7:30, and 9:30 pm at the 


FILM SPECIALS 
ICA 955 Boylston St., Boston 


WHERE'S BOSTON is shown Nourly (966.5152). Admission $2. Mar. 
each day from 10 am to 5 pm at 13: “A Woman is A Woman,” 
60 State St. (661-2425). Adults Mar. 14: “Vivre sa Vie” 


$2.50, under thirteen $1.50. ISLAMIC CULTURE is examined at 3 
CENTER SCREEN, Harvard's pm at the Fogg, 32 Quincy St., 


Carpenter Center, 19 Prescott Camb. Admission $3. Mar. 18: 
St., Camb. (494-0200) screens Bene oy City” and “Patterns of 
films each FRI-SUN at 7:30 and 


woo OF THE CONDOR, a docu- 
mentary exploring the women's 
rights*movement in Bolivia, is 
presented FRI, Mar. 7 at 2:30 
pm at Simmons College, 300 
The Fenway, Boston. FREE. 

FILMS OF LABOR AND STRUGGLE are 
presented by the IWW at MIT 9- 
150, 105 Mass. Ave., Camb. 
(522-7090). SAT, Mar. 8 at 8 


9:30 p.m. Tix $2.50. Mar. 14- 
16: British Animation. 


WEWTON FREE LIBRARY, 414 Centre 
St.. (552-7145) presents films 

_ each WED at 7 p.m. FREE. Mar. 
12: Two Biographies. 


FRENCH LIBRARY (267-4351) 53 
Marlborough St., Boston, screen + 


films each FRI-SUN at 8:30 pm. ge m 
Tix $2. Mar. 14-16: “Hiroshima 
piece WATERTOWN PUBLIC LIBRARY, 125 


Main St., screens films each FRI 
at 7 pm. FREE. Mar. 14: “Aliki, 
My Love.” 

UNION MAIDS is screened THURS, 
Mar. 13 at 7:30 pm at the Cleve- 
land Community School, 11 
Charles St., Fields Corner, Dor- 


BF/VF (254-1616) 39 Brighton 
Ave., Allston, screens films 
and/or presents filmmakers 
each THURS and SAT at 8 pm. 
Admission $3. Mar. 14: “Vinyl,” 
Mar. 15: Spalding Gray. 


. Ave., Camb. screens films SIMMABADDHA (The Target), by 
each THURS and SUN at 7:30 Satyajit Ray, is presented 


pm. Contribution $1. Mar. 13: 
“Darling Lili,” Mar. 16: “Adieu 
Philippine.” 


CARPENTER CENTER (495-3251) 24 
Quincy St., Camb., screens films 
each THURS at 5 pm. Tix. $1. 
Mar. 13: “Blood of a Poet,” and 
others. 


THURS, Mar. 13 at 7 pm at BU's 
Morse Auditorium basement. 
FREE. 

THE OTHER FRAMSISCO, about 19th 
century Cuba, is shown FRI, 
Mar. 14 at 7:30 and 9:30 pm at 
BU’s Morse Aud., 602 Comm. 
Avé., Boston. Tickets $3. 


““My Brilliant Career ‘sends 
..The best film to hit Boston in 
months! It’s witty, charming, 
literate, understated, and 
quietly erotic.” 
-— Michael Blowen, BOSTON GLOBE 


The breathtaking and haunting story of a free-spirited young 
maverick (Judy Davis in her dazzling screen debut) who tries 
to fight her way out of her farm family’s poverty and avoid 
the trap of.a “‘rich’’ marriage with.a young local squire.Based 
on a classic and “‘scandalous’’ 1901 autobiography, MY 
BRILLIANT CAREER marks the stunning debut of an 
extraordinary young director, Gillian Armstrong and the 
“‘preakthrough” film for the Australian Cinema. 

2:00, 4:00, 6:00, 8:00, 10:00 


OrsonWelles Cinemas 


A MOMBP PASS to the first 25 ‘people to ‘correctly answer “the foliowing-(Mon. between 5 & 5:30 at-868-3603, please): What was the last Italian sratntot 
film to win the Academy Award for Best Foreign Film ? Last wetk“sanswer: JEAN HARLOW. 


Franco Brusati’s 


Academy Award Nominee 
BEST FOREIGN FILM 


“IN ‘TO FORGET VENICE’, 
FRANCO BRUSATI HAS 
GONE FAR BEYOND 
‘BREAD AND CHOCOLATE”! 

A LOVELY AND LYRICAL 

FILM.” —Judith Crist 


1OForget|/enice 


A touching, poignant, and startling film of a successful 
businessman (Erland Josephson) who returns to his child- 
hood home outside Venice with his young male lover to 
visit his ‘aunt’, a vivacious, but aging opera singer, her 
niece (Mariangela Melato) , and her niece's female lover. 
Together as a “family” they try to maintain the illusion 
that they will remain young forever as they “‘recapture”’ 
the innocence and joy of their childhoods. 

1:45, 3:50, 6:05, 8:15, 10:15 


1001 Mass. Ave., Cambridge 868-3600 


Discount Parking Available 


LAST WEEK! 
WONDERFUL! 
ENTHRALLING! 
‘MARIA BRAUN’ 
TAKES YOUR 

BREATH AWAY!” 


‘Maria Braun’ is a real surprise- 
it’s swift, assured, and 
economical- the work of a 
cinematic master... Maria Braun 
is one of the most arrestingly 
erotic screen creations since Rita 
Hayworth put the blame on 
Mame. Yet her taunting : 
sensuality is only a part of her 
allure. She is at once naughty 
and innocent, heartless and 
tender... Fassbinder has always 
had a genius for jolting, 
unexpected touches. In ‘Maria 
Braun’ he proves he can tell a 
great story as well!” 


—Stephen Schiff, Boston Phoenix 


“THE MARRIAGE OF 
MARIA BRAUN” 


Hanna Schygulla’s stunning journey as the marvellous Mrs. 
Hermann Braun from bar girl of the “occupation” to 
baroness of the “economic miracle.’’ 1:00, 3:15, 5:30, 
7:45, 9:55 


The Late Shows 


Fri. & Sat., March 14 & 15 at 12:15 a.m. 


1 “INVASION OF THE BEE GIRLS” 
/ RICHARD PRYOR 
3 THE HARDER THEY COME 


Filmed Live 
in Concert 


6L 


0861 HOUWW NOILOAS ‘XINZOHd NOLSO@ SHL 


6:15, 
These listings are complied simos! week 125 
ae before theater bookings are finalized. New ‘Monty Python Meets Beyond the Fringe: The Conformist: Fri-Sat. 5:30, 9:50, :40 ae 
he stows are often scheduled with little ad- Wed-Sun. 6, 9:12 Sat. 1:15 , 6:05, 
vance notification. Please call the theater‘ Setween Time and Timbektu: Wed-Sun. Allegre Wen Troppe: Sun. 2, 5, 8 
before stoppin’ out, and be advised that —_7:30, 10:35 Fantastic Planet: Sun. 3:30, 6:30, 9:30 
Riphic sneak previews are common on Friday and fi: Mesteretu: The Vampyre: Sun-Tues. , 9:15, 

ate Saturday nights. Escape! 5:30, 7:40, 9:40, Sat-Sun. 3:30 ; 
ee Off the Wall's Alternative Family Cinema: 
| BOSTON PUALLEY 1 & (227-6676) My Favorite Series: Sat-Sun. noon, |: My Brillant Carver: Sun-Sun. 2, 4, 6, 
237 Washington St. 1:30 8, 10 
ALLSTON CINEMA (277-2140) I: Te Forget Venice: Sun-Sun. 1:45, | 
| 214 Harvard Ave. CAMBRIDGE 3:50, 6:05, 8:15, 10:15 
1:15, 2:55, 4:35, Sun-Sun. 1, ST off with student 1D. 
_ Ninth Configuration: Sun-Sun. 1:30, BRATTLE (876-4226) theater before $1.00 
3:30, 5:30, 7:30, 9:30 Academy Newton: 
q BEACON HILL |, it, & Wl (723-8110) Aliston Cinema: $2 for first show of the 
1: Black Stallion: Sun-Sun. 1, 3:15, 
- 5:30, 7:45, 10 
i: Stay As You Are: Sun-Sun. 1:30, oat 
iM: Sting of the Dragonmaster and Shanghai 
5 Killer: Sun. 
Three Stooges episode with each 
ti: All That Jazz:: Sun-Sun. 1, 3:15, Gilda: Wed-Fri. 7:50 
; 5:30, 7:45, 10 Lady from Shanghal: Wed-Fri. 6:15, 
CHER! |, & Ill (536-2870) 9:50 
: Dalton St. nr. The Prudential Center. Billy Lar: Sat-Sun. 4:30, 8 
1: Kramer vs. Kramer: Sun-Sun. 1, 3:15, Importance of Being Earnest: Sat-Sun. Po 
5:30, 7:45, 9:45 2:45, 6:15, 9:45 
_— Hi: Chapter Two: Sun-Sun. 1, 3:15, 5:30, FY FRESH POND CINEMA (547-8800) 
: 7:45, 10 . Fresh Pond Shopping Center. 
| il: Breaking Away: Sun-Thurs. 1:30, eT EI |; And Justice for All: Sun-Sun. 7:25, 
3:30, 5 10 Sun. 3:10 

ay Simon} China Syndrome: Sun-Sun. 9:30, Sat. 
200 ues. 7:30, 9:30, 
Craising: Sun-Sun. 1, 3:15, 5:30, 

7:45, 10 : “Sun, 7:30, 9:25, 
a i: The Fog: Sun-Sun. 1:15, 3, 4:45, MF : Sun-Sun. 1, Sat. 2, Sun. 2, 3:50, 5:40 2aae 
$5 a 6:30, 8:15, 10:15 3:05, 5:05, 7:30, 9:40 GALERIA CINEMA (661-3737) on 
EXETER THEATER (536-7067) 57 Boylston Street 
ii Exeter St. at Newbury Time After Time: Sun-Thurs. 1:30, an 
Ninth Configuration: Sun-Sun. 1:30, 3:30, 5:30, 7:30, 9:30 
A 3:30, 5:40, 7:45, 9:45 Robert et Robert: Fri-Sun. Call for 
— MUSIC HALL (423-3300) times. 
i 268 Tremont St. HARVARD SQUARE (864-4580) 
1434 Mass. Ave 
Geer Nester: Mon. 2:10, 7:35 
¥ : Boys in Company C: Mon. noon, 5:30 
4 Take the Money and Run: Tues. 2, 5, 
8:05 

a Play it Again, Sam: Tues. 12:30, 3:30, 
6:30, 9:30 
Iphigenia: Wed. 3:30, 7:50 
a A Padre, Padrone: Wed. 1:30, 5:45, 10 | . 
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22 


THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


600 Comm. Ave. 


247 - 2160 


***** THE FINEST MOVIE CO 
AND ONE OF THE BEST FILMS 
THE WAY AMERICANS LIVE 


DY SINCE ‘MANHATTAN’ 


Boston, Just opp. the 


Blandford St. stop on 
B.C. Green Line MBTA 


ER MADE ABOUT 
! A scruffy, charming, 


occasionally spooky comedy of romantic fixation and 
the most perceptive film portrait yet of the last weary 
stragglers from the generation of the yox: ONE OF THE 
BEST FILMS OF THE 


Stanley Kubrick (Dr. Strangelove, Clockwork Orange) brings us the granddaddy of all 
Science-Fiction spectaculars, a breathtaking glimpse of the not-too- distant future-- 

crafted with skill, intelligence and imagination. Keir Dullea and Gary Lockwood glide 
toward the outer reaches of the solar system in search of man’s past .. 
Hal sings “‘Daisy”’ while Strauss waltzes accompany us on the most fantastic interplanetary 
voyage ever put on film. 


sabes ON: Pushing papers 
FESSI s 
erie his boss’ son get over not 


ard. 
AOUBIES: Running (after Laura), 
hili (Laura’s recipe). finding excuses cout 
outside Laura’s house, hoping she "11 come 


SONG: “When A Man Loves A 


around and 
getting into 


FAVORITE 


Woman.” 
OMPLISHMENTS: 
note f the bathtub (again) @ 


mother 

take disco lesso 
QUOTE: “Looking back on it, 
just a lot of people walking nee in 


ing for a place to pee.” te 
PROFILE: Warm, winsome, , and waiting for 
Laura to leave her husband (again). 


\ HIS MOVIE: “Head Over Heels.” 


Pulling his 
nd refusing 


a 


McMILLAN GLORIA 


ANC 


GLORIA GRAHAME JOAN MICKUN SILVER 


ANN BEATE METCALF AMY ROBINSON GRIFFIN DUNNE 


STANLEY KUBRICK’S 


SPACE ODYSSEY 


Mon. - Fri. 6:15/9:00 Sat. & Sun. 1:00/3:30/6:15/9:00 


. or is it his future? 


Suburban 


ARLINGTON Capitol (648-4340) 
204 Mass. Ave. 
Werma Rae: Sun-Thurs. 7, 9:15, Sun. 4:45 
BEVERLY, Cabot St. Cinema (927-3677) 
86 Cabot St. 
Le Grand David Magic Show: each Sun. 3, 8:15 
9:15 
Man: Mon-Wed. 7:15 
Thurs-Sat. 7:15 
A Man for All Seasons: Thurs-Sat. 5, 9 
BRAINTREE, General I-IV (848-1070) 
Shore Plaza. 
ahaa Sun-Sun. 1, 3:10, 5:10, 
30, 9:35 
ll: Coal Miner’s Daughter: Sun-Sun. 1:30, 4:15, 


7:20, 9:45 
Wi: AM That Jazz: Sun-Sun. 1:45, 4:20, 7:20, 
9:45. 
IV: Kramer vs. Kramer: Sun-Sun. 1:15, 3:20, 
5:30, 7:40, 9:45 
BROCKTON, General Five (588-5050) 
Westgate Mall 
1: Chapter Two: Sun-Sun. 1:45, 4:20, 7:20, 9:45 
i: Saturn 3: Sun-Sun. 1:30, 3:30, 5:15, 7:30, 


9:30 
1:Coal Miner's Daughter: Fri-Sun. 1:30, 4:15, 


7:20, 9:45 
IV: Just Tell Me What You Want: Sun-Sun. 1, 3:10, 
5:15, 7:30, 9:40 
V: Fatse: Sun-Sun. 1:15, 3:15, 5:15, 7:30, 9:30 
BROCKTON, Sack I-IV (963-1010) 
Route 27 
|: Being There: Sun-Sun. 1:30, 4:30, 7:30, 9:50 
fi: AM That Jazz: Sun-Sun. 1:15, 4:15, 7:25, 
9:45 
mM: one Sun-Sun. 1:20, 3:20, 5:20, 7:30, 


W: one fog Sun-Sun. 1:10, 3, 5, 7:15, 9:15 

BURLINGTON, General (272-4410) 
Route 128, exit 42 

1: Kramer vs. Kramer: Sun-Sun. 1:15, 3:20, 5:30, 
7:40, 9:45 

li: Minth Configuration: Sun-Sun. 1, 3:10, 5:10, 
7:30, 9:35 

Hl: Belng There: Sun-Sun. 1:30, 4:30, 7:30, 9:50 

DANVERS, Sack Six (777-2555 or 593-2100) 
Endicott St. 


‘I: Cruising: Sun-Sun. 1:15, 3:15, 5:15, 7:25, 


9:40, Fri-Sat. 11:35 

i: Al That Jazz: Sun-Sun. 1:15, 4:15, 7:15, 
9:50 

i: Chapter Two: Sun-Sun. 1:15, 4:15, 7:15, 
9:45, Fri-Sat. 11:55 pm. 

1: Coal Miner's Daughter: Sun-Sun. 1:30, 4:30, 
7:30, 9:50 

V: The Fog: Sun-Sun. 1:30, 3:30, 5:30, 7:35, 
9:30, Fri-Sat. 11:30 pm 

Vi: Kramer vs. Kramer: Sun-Sun. 1, 3, 5, 7:25, 
9:-5, Fri-Sat. 11:30 pm 

DEDHAM , Showcase Eight (326-2100) 
950 Providence St. 

I: Fatso: Sun-Sun. 1:15, 7:15, 9:20, Sat-Sun. 
3:15, 5:05, Fri-Sat. 11:30 pm. 

il: The Rose: Sun-Tues. 1:45, 7:10, 9:50, Sun. 
4:45 
Wed-Sun. Call for 


: Being There: Sun-Sun. 1:50, 7:15, 10, Sat- 
Sun. 4:30, Fri-Sat. 12:20 
I: Hero at Large: Sun-Thurs. 1:15, 3:15, 5:15, 
7:40, 9:55 
Simon: Fri-Sun. Call for times. 
V: Cruising: Sun-Sun. 1:30, 3:30, 5:15, 7:25, 
«f 40, Fri-Sun. 11:40 pm. 
pity beng Sun-Sun. 1, 3, 5, 7:35, 10, 
Fri-Sat. 12:05 
Vii: Chapter Two: Sun-Sun. 1:55, 4:40, 7:25, 
9:55, midnight 
Vill: The Fog: Sun-Sun. 1:20, 3:20, 5:10, 7:20, 
9:25, Fri-Sun. 11:25 pm. 
FRAMINGHAM, General I-V (235-8020) 
9, Shopper's World 
Miath Configuration: Sun-Sun. 1, 3:10, 5:10, 
30, 9:35 
li: Kramer vs. Kramer: Sun-Sun. 1:15, 3:20, 
5:30, 7:40, 9:45 
Mt: Coal Miner's Daughter: Sun-Sun. 1:30, 4:15, 


"7:20, 9:45 


W: Breaking Away: Sun-Sun. 1:15, 3:20, 5:15, 
7:25, 9:30 

V: Fatse: Sun-Sun. 1:15, 3:15, 5:15, 7:30, 9:30 

MAYNARD, Nickelodeon (897-2100) 
19 Summer St. 

|: Women In Love: Sun-Tues. 6:45, 9:15 
Marriage of Maria Braun: Wed-Sun. 7, 9:15 


: The Rese: Sun-Tues. 6:45, 9:15 
‘Deer Hunter: Wed-Thurs. 7 
Manhattan: Fri-Sat. 6: ce 9:40 


NEWTON Academy (332-2524) 
102 Beacon St., Newton Centre 

|: Coal Miners Daughter: Sun-Sun. 1, 3:15, 5:30, 
7:45, 9:55 

ii: ee Sun-Thurs. 2, 3:50, 5:40, 7:30, 
9:1 


1296 Washington St., Rte. 16 
|: And Justice For All: Sun-Thurs. 9:25 
China Syndrome: Sun-Thurs. 7:15 
Robert et Robert: Fri-Sun. Call for times. 
Hi: The Shout: Sun-Sun. 7:30, 9:30 
1: Fellini's 8¥e: Sun-Tues. 7, 9:20, Sun. 2:15 
Julla: Wed-Thurs. Call for times. 


n. 

PEABODY, General I-Ill (599-1310) 
Northshore quail Center 

|: Last Married Couple in America: Sun.-Thurs. 
1:15, 3:20, 5:20, 7:30, 9:35 

Hi: Ninth Configuration: Sun-Sun. 1, 3:10, 5:10, 
7:30,- 9:35 

il: Sun-Sun. 1:15, 3:20, 5:15, 


3 


|; Breaking Away: Sun-Sun. 7, 9 

li: The Rese: Sun-Thurs. 7, 9:30. 
The Jerk: Fri-Sun. 7, 9:15 

General (321-1345) 


Fre oO Wed-Sun. 2, 3:50, 5:40, 7:30, “© 
9:25 


SOMERVILLE, Broadway (625-5316) Jl 
81 Broadway 
Electric Horsemen: Sun-Thurs. 7, 9:15 
Going in Style: Fri-Sun. 7, 9 

SOMERVILLE, Somerville (625-1081) 50 Davis 


Sq. 
Electric Horseman: Sun-Thurs. 7, 9:15, Sun. 
4:45 to 
og be: Fri-Sun. 7, 9, Sat. 1:15, r 
Sun. 1:15, 5 

STONEHAM General I-Il (438-4050) 
Routes 128 and 28 4 

|: Coal Miner's Daughter: Sun-Sun. 7:20, 9:45, 
Sat. 1:30, Sun. 1:30, 4:15 

ll: Just Tell Me What You Want: Sun-Tues. 7:05, 
9:20, Sat. 2, Sun. 2, 4:20 

WALTHAM, General |-I! (890-1064) 
477 Winter St. 

And Justices for All: Sun-Sun. 7:25, Sun. 3:10 
ead Sun-Sun. 9:30, Sat. 1, Sun. 1, 


rea Sun-Tues. 7:30, 9:30, Sun. 2, 


Winth Configuration: Wed-Sun. Call for times. 
WOBURN, Showcase Five (933-5138) 
St., Middlesex Canal Park 
1; All That Jazz: Sun-Sun. 1:55, 4:30, 7:20, 10, 
Fri-Sun. 12:25 am 
WW: Chapter Twe: Sun-Sun. 1:40, 4:20, 7:15, 
a Fri-Sat. 12:20 am. 

The Fog: Sun-Sun. 1:20, 3:20, 5:10, 7:30, 
Fri-Sun. 11:40 
IV: Bolng There: Sun-Sun. 1:50, 7:16, 10, Sat- 
Sun. 4:30, Fri-Sat. 12:20 
V: Cruising: 1:30, 3:30, 5:15, 7:25, 
9:40, Fri-Sun. 11:40 pm 


NOMINATED FOR 
ACADEMY AWARDS 


INCLUDING 


BEST PICTURE 


© 1979 COLUMBIA PICTURES INDUSTRIES, INC 


SACK 
CHER! 1-2-3 


BOSTON 536-2870 


GENERAL CINEMA 


SOUTH SHORE PLAZA 


GENERAL CINEMA 


CHESTNUT HILL 


RTE.9 at HAMMOND ST. 
277-2500 


GENERAL CINEMA 


BURLINGTON MALL 


ROUTE 128 EXIT42 
10 


GENERAL CINEMA 
FRAMINGHAM 
RTE.9 SHOPPERS WORLD 

"235-8020 


SACK 
CINEMA CITY 


393-2100 
EXIT 24 OFF RT. 128 


» 

= 
ae {E Cuba: 7, 9:15 
: EV 36 Salem St. 
low 1: Here at Large: Sun.-Sun. 7, 9. 
Hi: Fatse: Sun-Sun. 7, 8:50 
j I: Breaking Away: Sun-Sun. 6:45, 8:40 
WATICK, Sack Six (653-5005) 
Route 9, opp. Shopper’s World 
I; The Fog: Sun-Sun. 1:25, 3:25, 5:20, 7:20, 
9:30, Fri-Sat. 11:45 pm - 
Last Married Couple in America: Sun-Tues. 
2 1:10, 3:20, 5:30, 7:40, 9:50 

MM: Cruising: Sun-Sun. 1:05, 3:10, 5:15, 7:30, 

II ES 9:45, Fri-Sat. 11:45 pm 

IEW ERS PROFILES IV: All That Jaz: Sun-Sun. 1:15, 4:15, 7:15, 

V: Being There: Sun-Sun. 1:30, 4:30, 7:30, 9:50 
Vi: Chapter Two: Sun-Sun. 1:15, 4:15, 7:15, 10, 
CHARLE 
4 
: 

a3 6:00, 8:00, 10:00, also | 
Sat., Sin. Mats. 2:00, 4: 

7 
33 

"BRAINTREE 


Film strips 


compiled by David Chute 


MOVIE OF THE WEEK: Simon (1980). Mar- 
shall Brickman, Woody Allen's collabo- 
rator on the scripts for Sleeper, Love and 
Death, Annie Hall, and Manhattan, 
makes his debut as a writer-director. And 
it's impossible not to detect the Allen influ- 
ence in Brickman's premise: a think-tank 
whose wacky denizens have decided that 
coming up with ways to benefit mankind 
is, well, boring; why not turn their talents 
to devising some really nifty practical 


jokes, instead? After early dey as 
inventing a device to 

sen rating boxes (The pone and Marie 
Show becomes the top-rated series in the 
country overnight), they hit upon the ulti- 
mate gag: capturing a scruffy New York 
psychology professor (Alan Arkin) and 
then brainwashing him into thinking he’s a 
visitor from another planet. Opens Fri- - 
day, March 14, at the Cheri and in the 
suburbs. 


A 


%& Xx ADIEU PHILIPPINE (1962). This is the only 
- feature by the French filmmaker Jacques 
Rozier, an acclaimed director of shorts. 
Mostly improvised, this wry, oblique come- 
dy stars Jean-Claude Aimini as a young TV 
cameraman, due to be drafted within a 
month, who carries on last-minute affairs 
with two women (Yveline Cery and Stefania 
Sabatini) who are close friends. The feel- 
ing of nervous release — during a particu- 
larly in-between phase of the hero's life — 
fuels the comedy, which manages to be 
vivid and understated at the same time. A 
small but delightful movie. Harvard- 
Epworth Church. 
%&* XALLEGRO NON TROPPO (1977). A take- 
off on Fantasia, Bruno Bozzetto's mostly 
animated extravaganza is also a lewdly irre- 
verent send-up of pompous conductors 
and the capitalist impresarios who try to 
package musical classics for the masses. 
The most hilarious moments are the live-ac- 
tion sequences, with an orchestra of titter- 
ing old ladies, a gluttonous, leering con- 
ductor and a seedy, slick-haired MC. 
Among the classics subjected to Boz- 
Zetto’s marvelously-drawn cartoon irrever- 
ence are Ravel’s Bolero, Stravinsky's Fire- 
bird and works by Debussy, Dvorak, Vi- 
valdi and Sibelius. Coolidge Corner. 
THAT JAZZ (1979). Bob “Fosse’s 
grotesque autobiographical film drenches 
us in Broadway existentialism and razzma- 
tazz — both utterly self-serving, garishly 
overdone, and finally wearying. In his story 
of Joe Gideon (Roy Scheider), a fabulous- 
ly gifted and successful choreographer- 
director, Fosse tells us more than we ever 
wanted to know about himself, from his 
early morning bathroom routine to his 
mistreatment of numberless beautiful and 
talented women. But it isn’t just Fosse’s 
egomania that makes this film so bad, it's 
the shallowness, the tastelessness, the 
sourness of spirit — and the dishonesty. 
Photographed by Fellini's great cinema- 
tographer, Giuseppe Rotunno, the movie 
overflows with garish, knuckle-headed 
fantasy sequences. The backstage and 
bedroom action is interrupted by cuts to a 
musty cosmic dressing room, where 
Scheider coos pious howlers about life, 
love, and art to a white-draped Jessica 
Lange (as Lady Death). And a re-enact- 
ment of Fosse’s real-life heart attack brings 
on a lavish musical number (the kitschiest 
thing on film since The Wiz) during which 
the principals sing “Bye Bye Life” to the 
tune of the Everly Brothers’ “Bye Bye 
Love.” With Ann Reinking, Leland Palmer, 
and = Vereen. Charles, Chestnut Hill, 


one 
END JUSTICE FOR ALL (1979). Nor- 
Jewison’s overblown message movie 
about the injustice of American justice. Its 
salient feature is not any lesson or moral; it's 
melodrama, and much of it is so ludicrous 
that you do indeed walk away thinking, “It's 
only a movie.” .. . And Justice For All zips 
along, turning courtroom drones mMto- 
farceurs, backroom bargaining sessions 
into sitcom, love scenes into deodorant 
commercials. And Al Pacino, noisy and ef- 
fective, yet totally out of control, as a disil- 
lusioned Baltimore lawyer, gets to grand- 
stand shamelessly; he gives the movie what 
little power it has, but the performance is all 
hollow showmanship. John Forsythe, how- 
ever, delivers.a good perform- 
ance, bringing a chilly assurance to the role 
of a cortupt judge. With eek Warden and 
Lee Strasberg. Fresh P 
*AND-NOW FOR SOMETHING COMPLETELY 
DIFFERENT (1972). Monty Python's first 
American release was rather different when 
it first appeared, but now the antics of this 
wacky British troupe are overly familiar fare. 
Still, de gustibus, etc. Harvard Square. 


%* &BEAT THE DEVIL (1954). Things often 
get crazy in Hollywood, where a ludicrous 
scheme is as likely to reap box office re- 
wards as a serious One. Everybody was 
crazy on the set of Beat the Devil, from Tru- 
man Capote — who allegedly wrote the 
script as they went along, reading it aloud to 
the cast day by day — to director John 
Huston, who couldn't restrain himself from 
ending his warped satire on film noir with 
an insane, derisive cackle. As it turned out, 


Superb 
ood 


Middling 

Bearable 
A turkey 


Films without ratings have not been 
viewed as we go to press. We intend no 
judgment of their worth. 


$Mooth, 


Beat the Devil was a box office disaster, 
and it ended Huston’s long relationship with 
Humphrey Bogart, who not only had a lot of 


money sunk into the project but, by the look " 


of his performance, didn't much like the 
idea of parodying his own persona. Never- 


“theless, the film is frequently hilarious, a 


campy compendium of noir cliches put to- 
gether as haphazardly as a black-out com- 
edy revue. And there are remarkable comic 
performances from unexpected quarters: 
Gina Lollobrigida, as Bogie’s wife: Robert 
Morley, as the Sidney Greenstreet-type 
who, with his wicked companions Peter 
Lorre, Marco Tulli and Ivor Bernard, are ac- 
companying Bogart to East Africa; and, 
best of all, Jennifer Jones, as a blonde 
bombshell married to a phony British lord. 
Extravagant, silly fun. Central Square. 

* BEING THERE (1979). Photographed in 
rich, deep colors by Caleb Deschanel (The 
Black Stallion), Hal Ashby’s film. adapta- 
fion of Jerzy Kosinski's short novel is the 
sort of delicate, almost stately jest we ex- 
pect from European films and almost never 
see in American ones. Chance, the 50ish 
hero (Peter Sellers), is a feeble-minded or- 
phan who has worked as a gardener in an 
enclosed townhouse ever since he can 
remember. All he knows of the world out- 
side is what he’s seen on television. Kosin- 
ski's mordant premise is that, in tube-fed 
America, this utterly vacant soul could be 
taken for a sage, even a political potentate. 
Kosinski's jape is resonant, but it’s also the 
movie's only joke: Chance is always over- 
estimated in the same way, whether by a 
millionaire (Melvyn Douglas), by his wife 
(Shirley MacLaine), or even by the Presi- 
dent of the United States (Jack Warden). He 
is less a character than a cipher and as a 
metaphor, he’s shoddy and inconsistent. 
Indeed, we'd hardly care about him at all if it 
weren't for Sellers, whose apparently affect- 
less performance is really an interplay of a 
thousand tiny, fleeting emotions. Paris, Cir- 


cle, suburbs. 

* BILLY LIAR (1963). John Schlesinger 
fashioned a generally charming, occasion- 
ally cloying comedy — a lighter treatment of 
the period's working-class-angst conven- 
tions — from the Keith Waterhouse novel 
about a compulsive daydreamer. Tom 
Courtenay’s Billy doesn’t rebel against the 
dismal, industrial city he’s trapped in; he es- 
capes from it into Walter Mitty-ish fan- 
tasies, many of which revolve around the 
unapproachable dream girl played (ra- 
diantly) by the young Julie Christie. With 
Mona Washbourne and Finlay Currie. Cen- 


Saati BLACK STALLION (1979). In his 
first fiction feature, Carroll Ballard, brings 
Walter Farley's classic 1941 children’s nov- 
el to life in a way that may enrapture grown- 
ups even more than the toddlers. The story 
itself — about a boy’s love for a wild horse 
— is so familiar by now that suspense and 
narrative momentum are out of the ques- 
tion. But what's enchanting aboutthis film is 
its surface: The Black Stallion uses natur- 
al beauty to celebrate the adventure of see- 
ing. In Caleb Deschanel’s cinematog- 
raphy, the browns, blacks, and sky blues of 
a Mediterranean island; the glint of coveted 
gems in a shipboard poker game — all sug- 
gest the way adventure feels to a child, to 
someone who does not yet refer to life as 
the “daily grind.” The opening section, 
when the stallion and young Alec Ramsey 
(Kelly Reno) are cast away together, is al- 
together ravishing; when the film returns to 
America, some of the wonder is lost, al- 
though Mickey Rooney, as an avuncular 
horse trainer, gives a conning: ay 
observed performance. Beaco 

**xTHE BOYS IN COMPANY (1978), This 
confused movie follows five young Ma- 
rines from induction through combat in 
Vietnam. The boot camp scenes are graph- 
ic, profane and splendidly acted. But then 
the boys traipse into the jungle, and in- 
stead of watching the film unfold, you watch 
it unravel. The five main characters are in- 
distinguishable and instantly forgettable 
and we never understand enough about 
them to applaud their infinitesimal break- 
throughs. But Santos Morales and Lee Er- 
mey, the actors who play drill sergeants, 
save. the first third of the film; the rest, un- 
fortunately, is lost to cliches from World War 
Il pictures and pious misconceptions about 
the war that make you suspect the film was 
made with the advice and consent of the US 
Marine Corps'’s public relations office. Har- 
vard Square. 

KBREAKING AWAY (1979). A commer- 
cial American movie with a real feeling for 
its Midwestern locale, and an unsentimen- 
tal generosity toward its characters. Play- 
wright Steve Tesich, who wrote the script, 
attended indiana University in Blooming- 
ton, the lovingly observed small town in 
which four inseparable pals, recent high- 
school grads, spend an in-between sum- 
mer in their old haunts, staging a last-ditch 
holding action against adulthood. Tesich’s 
unobtrusive narrative method 


helps us glide right past the more banal 
contrivances — the dream romance of the 
bike-racing hero (Dennis Christopher) with 
a campus princess, or the Rocky-esque 
climax, in which Christopher takes on the 
arrogant BMOCs on the race track. It's a 
measure of what Tesich and director Peter 
Yates (Bulitt, The Deep) have worked in 
around the edges that this finale feels 
inadequate. Cheri, Chestnut Hill, suburbs. 


**BREAKING POINT (1976). Brutal action 
highlights one of the better vigilante/re- 
venge movies. Beefy Bo Hopkins, fresh 
from his triumph in Walking Tall I/ whittles a 
rake handle into a harpoon and sets out to 
extract a pound of blubber from each of the 
meanies who tortured his kids. Robert Culp 
is the wimpy cop who tries to calm Bo 
down. Directed by Bob Clarke (Murder by 
Decree), this one is strictly for guys who like 
to open beer bottles with their teeth. Publix. 
&k*XBREATHLESS (1959). Jean-Paul! Bel- 
mondo, in the role that brought him inter- 
national fame, stands before a movie post- 
er, fingers his lip, and sighs. “Bogie,” he 
murmurs, and the Atlantic Ocean is magi- 
cally crossed, the connection forced be- 
tween the Hollywood film of the '40s and the 
French New Wave. Breathless, Godard's 
innovative first feature, is undoubtedly a 
movie classic. Its story of a hardened but 
romantic French killer and a pretty, naive, 
bland and infinitely dangerous American 
girl (exquisitely played by Jean Seberg) is a 
fascinating metaphor for the relation of 
French and American sensibilities. The film 
is full of quotes from old movies, and the 
Style is a mix of disarmingly naturalistic tab- 
leaux and stylized posing (the characters 
speak a wildly over-literary dialogue), ex- 
hilarating from start to finish. Watch for ap- 
pearances by Truffaut, Chabrol, Jean-Pi- 
erre Melville (as the celebrity who an- 
nounced his ambition to “become immor- 
tal and then to die”) and Godard himself. 
Institute of Contemporary Art. 


Cc 


%x*LA CAGE AUX FOLLES (1978). A routine 
comedy of errors, performed in “gay face.” 
The tastelessness is partly redeemed by the 
accomplished camping of Ugo Tognazzi, 
who is charming and dignified as the prop- 
rietor of a Saint-Tropez nightspot specializ- 
ing in female impersonation and of Michel 
Serrault, yelping joyfully, as the club's flam- 
ing-drjg-queen headliner (Tognazzi's long- 
time lover), Edouard Molinaro’s gag-fix- 
ated farce centers on the chaos that erupts 
when Tognazzi'’s son brings the respect- 
able parents of his bride-to-be home to 
meet Papa. Molinaro never explores the 
ambiguous - central pecan and he 
doesn't lend the movie speed and 
wit to work on us all by itself. But at least he 
puts the performers front and center 


Charles. 

e@CHAPTER TWO (1980). Neil Simon's auto- 
biographical comedy is a story of the Fear 
of Happiness, in the tradition of A Man and 
a Woman. James Caan frowns his way 
through the Simonesque role of George 
Schneider. Schneider is a bestselling nov- 
elist wracked with guilt for being able to fall 
in love again just weeks after his first wife’s 
death and fearful of opening himself to 
more pain by caring too much about his 
second wife (Marsha Mason, who is also 
the second Mrs. Neil Simon). Simon takes 
the character's anguish much too seriously 
to make it the butt of any of the jokes, and 
what emerges is an inadvertant portrait of a 
stubborn, self-pitying oaf who makes life 
hell for a perfectly wonderful woman. Rob- 
ert Moore’s gutless direction is a little more 
tolerable here than in the unspeakable 
Murder by Death, isn't saying 
much. Cheri, Circle, su: 

THE CHINA SVNDROME. (1979. This 
Story of ape ar-disastrous accident in a nu+, 
clear po plant and its subsequent cover- 
up has been directed by James Bridges 
(September 30, 1955) as a noisy thriller full 
of car chases, SWAT teams, disaster-movie 
suspense and race-against-time hysteria. 


“One can complain that it's a pretty conven- 


tional thriller, without much room for depth 
of characterization, or even plausibility, and 
it does stack the deck in favor of its cru- 
sading TV-reporter heroes: Jane Fonda, 
splendid as a red-haired Brenda Starr-type 
trying to escape her soft-news beat, and Mi- 
chael Douglas, bearded and fervent, as her 
Politically engaged cameraman. Jack Lem- 
mon’s jittery performance as the plant man- 
ager is more histrionic than heroic. But most 
of the film is deft enough to surmount such 
obstacles with ease. It's hard to imagine 
anyone's not enjoying it, or failing to be 
touched these days by its anti-nuke fervor. 
Fresh Pond. 

CHINOISE (1967). Jean-Luc 
Godard's talky, minimalist techniques rare- 
ly proved more effective than in this study of 
a cell of very young Maoist terrorists in 
Paris. The didactic staging, clogged with 
words and almost drained of emotion, fits 
these oddly blank-faced kids, who spout 
Marxist ideals while planning and carrying 
out, with an air of chilling disconnection, the 
most drastic acts of random violence. Jean- 
Pierre Leaud and Anne Wiazemski epito- 
mize the spooky, unformed character of 
these terrorists, who are like prankish col- 


lege kids whose gags kill people. Graphi- 


cally one of Godard’s handsomest films, 
this is also a uniquely mordant examina- 
tion of poe nihilism. Institute of Con- 
temporar: 

CONFORMIST (1971). Bernardo 
Bertolucci’s version of Alberto Moravia's 
celebrated novel tells the story of Clerici, a 
young, passionless Fascist official in ‘30s 
Italy who is assigned to murder his former 
professor and winds up falling for his wife, 
who also must die. Where Moravia’s tone 
was calm and detached, Bertolucci's is 
aflame; he turns the novel into a baroque 


» melodramatic thriller full of dazzling com- 


positions, ravishing lighting and color, and 
elliptical dialogue. The effect is to trap the 
passionless monster in a swirling, impas- 
sioned milieu. Bertolucci can't help feeling 
a most un-Moravian.sympathy with his hor- 
rid protagonist, and the film's extraordinary 
power derives in part from the spectacle of 
watching an inhuman killer stripped to quiv- 
ering humanity. Jean-Louis Trintignant, 
Stiff, suspicious, and almost obscenely nar- 
cissistic, gives one of the finest perform- 
ances of his career in the title role, and 
Dominique Sanda, Stefania Sandrelli, 
Pierre Clementi, and Gaston Moschin co- 
star. Coolidge Corner. 
*k*xk*kxLE CRIME DE MONSIEUR LANGE 
(1935). Although it very clearly relfects an 
era in which revolt of the workers and other 
communard emotions seemed to offer a 
last hope against the Fascist tide, Jean 
Renoir's satire transcends its polemicism to 
Continued on page 24 


A filmed stage 
performance 


with Michael Palin, John 
Cleese, Graham 
Chapman, Terry Gilliam, 
Terry Jones plus Peter 
Céoke, Jonathan Miller, 
and Alan Bennet 


6, 9:10 pm, plus 12:10 
Midnight Fri/Sat 


Kurt Vonnegut’s 


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AND TIMBUKTU 


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$1.00 off with student I.D. 


— Mondays — 


at the WHERE'S BOSTON? Thea’ 
next to Faneuil Hall. 354-5678. 


Brattle Theatre 


3, 40 Brattle Street TR 6-4226 
“WEEK OF MARCH 12 — 18 
TWO CLASSICS OF FRENCH CINEMA 
Charles Aznavour in Francois Truffaut's 
SHOOT THE PIANO PLAYER 
“A masterpiece.” **** —David Ansen 5:00, 8:15 
and 
Jean Renoir's THE CRIME OF MONSIEUR LANGE 
“Jean Renoir...the greatest filmmaker in the world.’ 
—Francoise Truffaut 6:35, 9:50, Weekend Matinee 3:20 


864-0426 
CINEMA | 


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CINEMA II 
MARCH 12 — 14, WEDNESDAY — FRIDAY 
TWO CLASSIC FILMS NOIR 
Orson Welles’ THE LADY FROM SHANGHAI 
6:15, 9:50 
and 
Rita Hayworth in GILDA 7:50 
MARCH 15 — 18, SATURDAY — TUESDAY 
Oscar Wilde’s THE IMPORTANCE OF BEING EARNEST 
6:15, 9:50, Weekend Matinee 2:50 
and - 
John Schlesinger’s BILLY LIAR 
with Julie Christie 8:00, Weekend Matinee 4:30 


Every Wednesday at the Brattle Theatre and the Central 
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44 - 5:30, 7:30, 9:30 


nday, 
16 - 8 pm 


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nday, ‘ 
Vivre Sa Vie (To 
Femme est Tous les Live One’s Life) 
Une arcons 1962 
une Femme (A 
Woman) 41961 oon are called 


Admission: $2.00, 1.50 ICA Members 
Sunday double feature: $3.00, 2.50 ICA Members 
(single admission tickets available: $2.00, 1.50 ICA Members) 


Call 226-5152 for more information 
ICA 955 Boylston Street, Boston MA 02115 


Cinema Bookstore 


1 


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642 Massachusetts Ave., Cambridge 
4 67 


MOVIES 


SACK WHENIZES 


For Complete Boston Showtimes call 542-SACK 


| 


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FRANCIS FORD COPPOLA S 
MARCELLO MASTROIANN! ExcLUSIVE ENGAGEMENT 
Scag 


CHARLES 1-2-3 195 Cambridge St. Near Gov. Ctr. 227-1330 | 


Bette Midler 
LA CAGE AUX FOLLES| T {47 
Birds of Al AZ 


70 MM DOLBY STEREO 


(Subtitled) NO PASSES ACCEPTED RE 


{ CHEa2l 1:2°3 50 Dalton St. opp. Sheraton Bos: 536-2870 


Starts Fri 3/14 Chapter 
“SIMON ad Two PG 


Ends Thurs Breaking Away 


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AL PACINO 
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Starts Fri 3/14 | Pcl 
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Starts Wed FORCE OF ONE 


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BEING THERE PG 


| BROCKTON 8-4 Rt.27 Adj. Cushing Hosp. 588-4850/ 963-1010 
PETER SELLERS AL PACINO 


BEING THERE pe AL RUISING| 


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Chapter 


Last Married Couple 


‘Impressive directing and writing debut by Anne 
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Don’t miss 
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DOM DeLUISE i. “FATSO” 
ANNE BANCROFT - RON CAREY - CANDICE AZZARA 
Written ond Directed by ANNE BANCROFT Produced by STUART CORNFELD 


Associate Producer JONATHAN SANGER = Music by JOE RENZETTI 
A Production of Brooksfilms Lid. Color by DeLuxe’ 
READ THE BALLANTINE BOOK 


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ae. 


“The performances in ‘C 


its vision is unforgettable.’’ —pavia Brudnoy, wNAC-TV 
*‘Writer-director William Friedkin is a brilliant 
filmmaker.’’ —Nat Segaloff, WEEI-FM 


Al Pacino is Cruising fora 


AL PACIN 
CRUISING 


‘CRUISING’ is a work of art. Brilliant... 
shocking...powerful...exhilarating. .. This film 
defines Friedkin as a director of the first rank.’’ 


— Bruce McCabe, Boston Globe 


RUISING’ are superior, 


UPON THE 
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Continued trom page 23 

study the role of the artist and the dreamer 
in a society bent on exploiting him. Re- 
noir's gentle camera eagerly follows his 
characters, hanging upon their actions in- 
stead of studying them, while Jacques Pre- 
vert's witty script lends the picture a mor- 
dant, lively edge. With Rene LeFevre as the 
author of Western novels and Jules Ferry as 
Batala, his villainous publisher. Brattle. 
@CRUISING (1980). William Friedkin didn't in- 
vent homosexuality or sadomasochism or 
leather bars, but he certainly invented the 
grotesque versions of them that appear in 
this film, a murder mystery set among Man- 
hattan's S&M crowd. Friedkin’s fiendish 
creations might seem droll if they didn't float 
by us in the gloomiest colors imaginable, 
and if they weren't accompanied by music 
(created by Jack Nitzsche) that sounds like 
the creakings of the medieval rack. In 
Cruising, monsters have overrun New 
York, and if you hang around long enough, 
you begin to turn into one. It's Invasion of 
the Body Snatchers in drag. The body 
being snatched here belongs to Al Pacino, 
who portrays a heterosexual rookie cop 
sent undercover into the gay netherworld to 
ferret out a killer. When Pacino seems to be 
turning both gay and violent at the same 
time, is Friedkin suggesting that the homo- 
sexual milieu breeds murderers? Prob- 
ably, although the film has been so shod- 
dily slapped together that it's hard to tell 
what (if anything) was intended. Cinema 
57, Circle, suburbs. 


D 


DARLING LILI (1970). Blake Edwards's 
incredibly bloated musical parody of the 
Mata Hari legend, starring (of all people) 
Julie Andrews (no substitute for Greta Gar- 
bo). Andrews is a German spy, during 
World War |, posing as a music-hall star, 
who attempts to coax state secrets out of 
flying ace Rock Hudson. Produced ata . 
cost of $20 million, the film boasts battle 
scenes and production numbers that are 
lavish but also pointless. The heart of this 
story isn't on the battlefield, it's in the bed- 
room, and with Rock and Julie between the 
sheets, the love scenes don't exactly smol- 
der. Harvard-Epworth Church. 
*%*xxDAWN OF THE DEAD (1979). George 
Romero's grisly sequel to Night of the Liv- 
ing Dead (1969) is a classic case of a gifted 
director going all out and giving us more 
than we can possibly assimilate. This time, 
Romero sets his flesh-eating zombies 
maundering through the largest enclosed 
shopping plaza in America and he creates a 
spacious, beautifully executed movie that’s 
an almost non-stop series of action scenes. 
Dawn of the Dead is a reflection on vio- 
lence that becomes intoxicated by its sub- 
ject: a visual tour-de-force patterned on the 
EC horror comics of the '50s; and a bloody 
slapstick satire, mocking a consumerism 
that has made glassy-eyed goons of all of 
us. With Ken Foree, David Emge, Gaylen 
Ross and Scott H. Reiniger. Harvard 


Square. 

DEER HUNTER (1978). Michael 
Cimino’s saga of three steelworkers who 
carry their “one clean shot” notions of man- 
liness from the deer hunt into battle in Viet- 
nam is an utterly satisfying look at how the 
myth of the American hero was consumed 
by the war it created. During the first thigd, in 
which Cimino creates a spacious portrait of 
a Russian-American steel town in Pennsyl- 
vania, we sense that a hundred lives, an en- 
tire universe, are passing before our eyes. 
And then, in a Vietnam's prison camp epi- 
sode that’s one of the most harrowing ac- 
tion sequences in movie history, the game 
of Russian roulette becomes an apt sym- 
bol of the way America’s let’s-go-in-there- 
and-clean-out-the-vermin heroism turned 
into the suicidal gambling of Vietnam. Cim- 
ino’s command of narrative rhythm ;isypver- 
whelming (he hits you, drops back, and 
then bowls you over again) and Robert De 
Niro’s Michael, the deer-hunting hero, has 
you rooting not just for him, but for Ameri- 
can heroism in the abstract. The movie isn't 
perfect but it’s easily the most powerful 
movie in years, and it embodies a tem- 
pered, sadder-but-wiser patriotism. Har- 
vard Square. 


E 


(1963). Fellini's finest film, and 
one of the masterpieces of world cinema. 
Complex yet controlled, 8% explores in- 
side and out the world of a film director who 
reaches the crisis of middle age as he plans 
his next film. Marcello Mastroianni man- 
ages wit and a boyish jubilance as the di- 
rector, while Fellini punctuates the dark- 
ness of his artistic anguish with poignant 
images of whiteness. Anouk Aimee is styl- 
ish and long-suffering as the wife, Claudia 
Cardinale a vision of loveliness as his 
dream girl. Richly imagined. West Newton 
Cinemas. 


F 


PLANET (1972). Rene 
Laloux’s exhilarating animation about a dis- 
tant planet populated by two racés of 
people: the giant blue intelligentsia known 
as the Draags and the tiny, primitive Oms, 
who are threatened with extinction. Surreal 
and captivating, it won the Cannes Special 
Grand Prize in 1973. Coolidge Corner. 

FATSO (1980). Actress Anne Bancroft makes 
her debut as a writer-director under the 
corporate aegis of her husband, Mel 
Brooks — and her low-comedy project 
sounds very Brooksian, indeed. Dom De- 
Luise stars (with Brancroft, Ron Carey, and 
Candice Azzura) as a fat man who yearns 
for love. See “Trailers.” Coolidge Corner. 


*THE FOG (1980). The latest horror film by 
John Carpenter (Halloween) boasts some 
of the most picturesque comic-book shock 
effects in memory. Unfortunately, it's“also 
one of the silliest scare shows we've ever 
encountered, a zombies-on-the-march 
saga full of jangling reflexive shocks and 
slapdash writing. A gallery of dull charac- 
ters, spouting dismal dialogue, is trotted 
through a story about the ghosts of some 
shipwrecked 19th-century mariners who re- 
turn, shrouded in a luminous supernatural 
fog, to exact vengeance on a seacoast town 
in Northern California. Carpenter ap- 
parently has no ambition other than to 
goose shrieks from an audience. He 
doesn't transcend the genre, he wallows in 
it. With Adrienne Barbeau, Jamie Lee Cur- 
tis, Hal Holbrook (as a booze-hound priest) 
and Janet Leigh. Cinema 57, Academy, 


suburbs. 
A FORCE OF ONE (1978). Already a smash hit 


Continued” on page 26 


| 
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<a Matter jg» SUdject 
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WILLIAM FRIEDKIN'S “CRUISING’ 
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on the six-pack circuit, this is a home- 
rown feets-and-fists action film starring 
ormer World Karate Champion Chuck Nor- 
Jennifer O'Neill. Saxon, Fresh 


G 


%kkKGILDA (1946). Charles Vidor's ‘trash 
masterpiece is far from good, but it must be 
reckoned among the most erotic films in 
history. It owes most of its seedy, lustrous 
glamour to the presence of Rita Hayworth at 
the height of her powers, her torrid, glove- 
doffing rendition of “Put the Blame on 
Mame” has a sizzle that no contemporary 
explicitness could match. Gilda was made 
just after World War I! and is a prime ex- 
ample of the noir-ish Hollywood product 
that emerged from that period of post-vic- 
tory blues. Glenn Ford, who enjoyed 
several seamy roles during the era, plays a 
gambler employed by cafe-owner George 
Macready; unbeknownst to him, 

has married Rita, Ford's old flame. Vidor 
was never a very good director, but the 
understood Hayworth's langorous sexual- 
ity and managed more restraint here than 
usual. Central Square. 

*%k*x*kGOING IN STYLE (1979). In outline, 
Martin Brest's film sounds as though it has a 
case of the formula cutes: a comic caper 
yarn about three aged roomies (George 
Burns, Art Carney and Lee Strasberg) who 
join forces to knock over a bank. But unlike 
so many cuddly-oldster movies, this one is 


We Make ten’ useless. 


three of the performers are brilliant, and so 
is their 28-year-old writer-director. If Brest 
fails to provide his characters’ cnn agp 
with sufficient background, he makes al- 
most everything else work. A single word, a 
double-take, a line that would read like 
nothing on the printed page — all are trans- 
muted into provocation to laughter or tears. 
There is no mechanical prodding. Brest has 
created a comedy of character that em- 
braces us all. Fresh Pond, Cinema Brook- 
line, suburbs. 


H 


HARDER THEY COME (1973). 
Jimmy Cliff tries for that pie in the sky above 
Shantytown, but he’s got many rivers to 
cross. The de rigueur reggae picture’s cin- 
ematic aspects are almost as enthralling as 
the music. Orson Welles. 

@HAROLD AND MAUDE (1972). There have 
been periodic attempts to salvage the repu- 
tation ‘of Hal Ashby's black-comic tear- 
jerker, in the wake of its cult success. It's a 
stinker, though, now and for all time. The 
romance between a teenaged rich boy (Bud 
Cort) who stages joky fake suicides and an 
80-year-old poor woman (Ruth Gordon) 
who spouts moronic homilies about wild 
flowers and their relation to the life force, is 
one of the three or four most insufferable 
movies ever made. Music by Cat Stevens 
— perfect, right? Coolidge Corner. 

KHEAD OVER HEELS (1979). Like the 
superb novel it's based on, Ann Beattie’s 


THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


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i] Chapter Two | BEING THERE 


casionally spooky comedy of romantic 
fixation — it's funnier and more elating than 
any movie comedy since Manhattan. But 
the addled, tenderly sarcastic tone is more 
than a matter of style, it's a way of getting at 
the truth about a milieu — that of the last 
weary stragglers from the generation of the 
‘60s. John Heard gives a beautifully 
nuanced performance as Charlies, an aim- 
less young man obssessed with a former 
love (Mary Beth Hurt, from Interiors) who 
left him to return to her husband. The movie 
is too winsome at times, and it's far from a 
masterpiece technically, but in light of its 
extraordinary feeling for character, such 
minor flaws evaporate. Gloria Grahame 
does one of the juiciest daffy-dame rou- 
tines in recent movies, as Charles's wiggy, 
suicidal mother; and Peter Riegert plays 
Sam, Charles's womanizing best friend, 
with considerable charm. With Kenneth 
McMillan, Nora Heflin, and Mark Metcalf; 
novelist Beattie has a walk-on, as a 
waitress. Nickelodeon. 

HERO AT LARGE (1980). Martin Davidson's 
film is an urban vigilante fantasy played for 
laughs, a Capra-corny super-hero comic 
book. Soft-faced TV star John Ritter 
(Three's Company) an out-of-work 
actor who begins taking his promotional 
stint in a super-hero suit a bit too seriously 
and becomes a media superstar overnight. 
The movie is a curdied mixture of Death 
Wish, Batman, and Meet John Doe, only 
partially redeemed by the presence of tal- 
ented Anne Archer (Paradise Alley), as 
Ritter’s Jean Arthur-ish love interest. With 
Bert Convy and Leonard Harris (Taxi 
Driver). Beacon Hill, suburbs. 

KHIROSHIMA MON AMOUR. (1959). One 
of the seminal works of the New Wave, this 
is Alain Resnais’s rich, abstruse story of a 
French actress working on an anti-war film 
in Hiroshima circa 1950 whose love affair 
with a Japanese architect gives rise to a 
Proustian whirl of memory and emotion. Its 
revolutionary narrative techniques, its 
integration of images of past and present, 
and its successful exploration of difficult 
themes assure its place among the classics, 
as do the fine performances by Ejii Okada 
and especially Emmanuelle Riva. French 
Library. 


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BEING 
THERE 


He hea 


darkness. 


Jennifer O’Neill 


Please Call Theatre For Screen Times 


silence. 
He sees the 


IMPORTANCE OF BEING EARNEST 
(1952). Oscar Wilde's daft Victorian comedy re- 
ceives civilized if not particularly inspired 
treatment at the hands of director Anthony 
Asquith. He purposely kept it stage-bound, 
which is fortunate; the play could never 
succeed if “opened up” Hollywood-style 
from the precious confinement of the Brit- 
ish drawing room. The acting is remark- 
able. Michael Redgrave, Michael Denni- 
son, Margaret Rutherford, Dame Edith 
Evans, and best of all, the peerless Joan 
Greenwood, whose purring voice and teas- 
ing insouciance make for a giddy com- 
bination of feistiness and sex appeal. Cen- 
tral Square. 
kek A LONELY PLACE (1950). Nicho- 
las Ray's gripping tragedy of Hollywood life 
is one of the bleakest portraits of sexual 
relations ever made — and one of the most 
heartbreaking. Humphrey Bogart delivers a 
magnificent, searching performance as the 
screenwriter with a violent past who be- 
comes implicated in a murder he could well 
have committed; it’s an extraordinary piece 
of self-exploration, tracing the lines of com- 
passion and hostility that always co-exist- 
ed in Bogey’s persona. Gloria Grahame 
smolders seductively as the woman who 
falls for Bogart at the most inopportune 
time, when the law stands poised to plant 


stroy their relationship. The film can be read 
as a thriller or as an outcry against the Red- 
baiting hysteria that was sweeping the 
country, but its emotional core is in the de- 
spair over the impossibility of an ee 
love — an an enduring trust. With Fran 

Lovejoy and Martha Stewart. From the 
novel by Dorothy B. Hughes. Central 


Square. 

*xIPHIGENIA (1977). Michael .Cacoyan- 
nis's version of Euripides's Iphigenia at 
Aulis is forceful and stormy, but everyone 
in it seems to be straining to measure up to 
the play's innate grandeur, to be Classic. 
The titanic performances of Irene Papas 
(as Clytemnestra), Costa Kazakos (as Aga- 
memnon) and Costa Karras (as Menelaus) 
trivialize the play, reducing it to entertaining 
but exaggerated melodrama — the film 
suggests the grandiose hysterics of a Holly- 
wood silent movie rather than the caustic 
ironies of Euripides. Cacoyannis has come 
up with some lustrous images, and the film 
is often moving. Yet, he undercuts Euripi- 
des by tacking on a confused prologue and 
then by creating a woefully insubstantial vil- 
lain, the prophet Calchas. Harvard Square. 


%& xINVASION OF THE BEE GIRLS (1976). This 
grungy little quickie about California house- 
wives gifted with the ravenous (and dead- 
ly) reproductive desires of bees works bet- 
ter as porn than as science fiction. Director 
Dennis Sanders tries to milk every last 
peek-a-boo thrill from Nicholas Meyer's 
occasionally witty script, and so the satiric 
overtones are muted. The bee-girls should 
be the ultimate Marabel Morgan fantasy — 
insatiable beauties who pleasure their men 
into lethal coronaries — but Sanders plays 
it all on the crudest skin-flick level, without 
irony. We did enjoy the transformation 
scenes, however, which feature a sort of 
whipped-cream cocoon that not only turns 
women into bees but gives them a hair-do 
and facial at the. same time. Cosmetolo- 
gists, take note. With William Smith and Vic- 
toria Vetri. Orson Welles. 


J 


JERK (1979). Carl Reiner, who 
directed Steve Martin's first star vehicle, has 
turned out a Jurching, ugly-looking film that 
Still manages to be very funny in places — 
thanks to Martin. This*warped Horatio Alger 
burlesque has been tailored to the comic's 
spasmic, literal-minded-to-the-point-of- 
idiocy persona, which hovers somewhere 
between Kaspar Hauser and Mork from 
Ork. The story of an archetypal hick 
stumbling through a couple of jobs and a 
couple of affairs, then into a fortune and out 
again, allows Martin ample scope for his 
hyperactive brand of nerdiness. But the film 
feels underpopulated, so that amiable per- 
formers like Bernadette Peters have to 
emote like crazy to fill the whole screen. 
And the film's humor relies so heavily on 
shocks of incongruity that when the novelty 
wears off there’s very little left, and the 
movie barely limps across the finish line. 


Suburbs. 

(1977). Fred Zinnemann’s ver- 
sion of the luminous story from Lillian Hell- 
man’s memoir Pentimento is flawed but 
engrossing, a handsome, almost too taste- 
ful production whose look recalls David 
Lean's Dickens films. Adapted by Alvin 
Sargent, it focuses on the young Helilman’s 
Struggle to complete her first play (the Chil- 
@ren’s Hour), her initial Broadway success 
and her adventure working with Europe’s 
anti-Fascist underground at the behest of 
her childhood friend Julia, the scion of a 
wealthy American family. Too worshipful of 
Hellman and abusive of her friends in 


able asset in its acting. Jane Fonda is 
energetic, moving Hellman, Vanessa Red- 
grave delivers the performance of her life as 
Julia (though she's not on the screen nearly 
as much as we might wish) and Jason 
Robards: brings his hammy, craggy charm 
to the role of a god-like Dashiell Hammett. 
West Newton. 
#& JUNIOR HIGH SCHOOL (1978). A parody of 
‘40s musicals and the idiocies of life at 
schoo! that’s brisk and entertaining on the 
surface, eerily disaffected underneath. It's 
hard to tell if the weirdness is intentional or 
merely a function of the bleached Califor- 
nia settings — and of the slightly glazed 
eyes of the real-life eighth graders who 
have all the major roles (which, by the way, 
they handle nicely). The songs are witty, the 
direction (by Michael Nankin and David 
Wechter) is nimble, and the dialogue ex- 
ploits school-days cliches nicely. But the 
film leaves you with a strange chill. These 
kids are jolly, but they seem only half- 
awake: they don't have the true rebellious 
spirit. Shown with another Nankin and 
Wechter film, “Gravity” (1977), and Lois 
Ann Polan’s “Rabbit Stew” (1974): Off the 
Wall at the Carpenter Center. 


JUST TELL ME WHAT YOU WANT (1980). A 
bitchy update on the themes of '30s screw- 
ball comedy, based on the novel by Jay 
Presson Allen. Comedian Alan King stars, 
as an omnivorous self-made tycoon whose 
long-time mistress, Ali MacGraw, threatens 
to leave him for a younger man. With Peter 
Weller, Myrna Loy, Dina Merrill, and Tony 
Roberts. Directed by Sidney Lumet. 
Suburbs. 


K 


VS KRAMER (1979). A 
woman leaves her family, her husband and 
son grow close, and the woman returns de- 
manding custody. The plot of Kramer vs. 
Kramer (derived from Avery Corman’s 
dreadful 1977 bestseller) is as plain as that. 
But in writer-director Robert Benton's tight, 
unsentimental treatment, it becomes an 
agonizing search for values, and an utterly 
convincing testimony to the drama of or- 
dinary lives. As the work-obsessed ad-exec 
husband, Dustin Hoffman delivers the finest 
performance of his career, creating a dead- 
on portrait of American manhood in the 
crumbling '70s. And Mery! Streep, shunted 
by the film’s structure into an almost vil- 
lainous role, brings out all the wife’s pathos 
and heroism and nearly succeeds in re- 
storing the moral balance. Even so, the 
movie tacitly takes sides. Hoffman and 
seven-year-old Justin Henry (a real actor 
instead of kid-star emotion milker) create 
such an affecting and transfiguring rela- 
tionship that we can't help hoping it will last. 
Still, Benton has created something very 
special: a chamber drama that reveals more 
about the treacherous shoals on which the 
tides of the '70s have stranded us than a 
thousand end-of-the-era pontifications. 
Cheri, Chestnut Hill, suburbs. 


L 


&KTHE LADY FROM SHANGHAI (1948). Or- 
son Welles’s thriller is a series of revela- 
tions of moral decay. Evil swirls from scene 
to scene until it infects those closest to 
Welles himself, who plays:a rather dim ad 
venturer. As wickedness spirals toward him 
from obvious sources, like crippled lawyer 
Everett Sloane, it also emerges gradually 
from dozens of other, hidden sources, and 
a heart of darkness is finally discerned even 

Continued on page 28 


in A Force of One starring [Ron O'Neal] and Clu Gulager 
also starring James Whitmore, Jr. with Eric Laneuville as Charlie 


and introducing Bill Wallace as Sparks 


Directed by Paul Aaron » Executive Producer Michael F. Leone « Produced by Alan Belkin 
Screenplay by Ernest Tidyman based on a story b 

Music composed and conducted: 

From American Cinema Productions « 


by 


©A CG Motion Picture investment Fund 1978 


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THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


ah i of deceptive appearance is boldly 
expressed, and all the movie's tension ca- 
thartically released, in the justly famous 
house-of-mirrors gunfight scene. Central 
Square. 

LADY VANISHES (1938). Hitch- 
cock’s extremely entertaining amusement 
about a little old lady (Dame May Whitty) 
who disappears from a moving train, the 
friendly young couple who set out to find 
her, and the dastardly spies who know 
she’s on an espionage mission. Full of won- 


boasts one of the Master’ s ; most appealing 
pairings. and Margaret 
Lockwood. Bra 

eTHE LAST MARRIED COUPLE IN AMERICA 
(1980). This raucous comedy by Gilbert 
Cates (The Promise) features a barking 
George Segal and a hard-faced, whiny 
Natalie Wood as a chic LA twosome who 
cling to their happy marriage even though 
all around them, everybody's Splitsville- 
bound. There are more shrill obnoxious 
performances here than in any film in mem- 


ory. What with Segal’s banshee howls, and 
Richard Benjamin's Jewish-robot shtick, 
things get so bad that Dom DeLuise — as a 
plumber-cum-porno-star —.looks relative- 
ly restrained. The movie is inept from first to 
last, but this is not what makes it offensive 
— it's unpleasant because it heaps con- 
tempt upon its own boobish characters. 
With Valerie Harper and Bob Dishy. Sub- 


urbs. 

%&&LAST TANGO IN PARIS (1972). Marion 
Brando's extraordinary performance and 
Bernardo Bertolucci’s colorful, rather daz- 
zling direction make up for the silliness of 


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& Directed by 


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WILLIAM PETER BLATTY BARRY DeVORZON ° GERRY FISHER. B. 


the plot here, and the film's much-vaunted 
sexuality is shocking mainly for its brutality. 
Jam-packed with subplots, films-within-a 
film, Freudian references and flashbacks, 
this story of a haunted expatriate at the end 
of his rope, though far from the ground- 
breaker it may once have seemed, has its 
wrenching moments, and certain scenes — 
Brando's childhood reminiscence, his con- 
frontation with his dead wife, the tango — 
nah a matchless beauty. Coolidge Cor- 


$RLET IT BE (1970). Pleasant, intermit- 
tently painful fare for Beatles-lovers. This 
documentary shows Paul’s ascendancy, 
the Fab Four's estrangement, and a fine 


: concert. by Michael Lind- 


Harvard 
+*L00 NG FOR MR. GOODBAR (1977). Jud- 
ith Rossner’s best-seller: about a young 
woman who meets her maker while on the 
make becomes a brutal, often tasteless and 
frequently silly movie that for all its faults is 
undeniably compelling. Brooks has made 
an urban nightmare film in which all men 
are potential killers and in which even good 
girls, like Diane Keaton’s Terry Dunn, can 
get pleasure from promiscuity. As it turns 
out, casting Keaton — a nice, reassuringly 
vulnerable, normal sort — was a stroke of 
genius; she makes us respond seriously to 
Terry in a way that a conventionally sexy or 
neurotic actress would not, and she’s very 
good in some of the sex scenes, in which 
she appears to be discovering her own na- 
ture as she goes along. The film also boasts 
a bravura stint by actor Richard Gere. Har- 
vari 

OVE A AND DEATH (1975). Woody Al- 
len's most controlled film before Annie Hall 
is essentially a spoof of intellectualism, es- 
pecially deep thinking of the Russian per- 
suasion. The wit here is not nearly as wild 


.as vintage Woody, but his cinematography 


is more fulfilling than usual and, in its style 
and breadth, the humor resembles the won- 
derfully mordant lampoons he pens for the 


New Yorker. Based yy, very loosely on: 
_War and Peace. West Ne 


wton. 


M 


*&MAGICAL MYSTERY TOUR. (1970). The 
Beatles’s ill-fated made-for-TV movie is 
more fun today, especially for die-hard Fab 
Four maniacs. pid you can't knock the 
sonas. Harvard S 

kMONTY PYTHON “AND THE HOLY GRAIL 
(1974). The coven of loony Britons en- 
gages in medieval quests in a film that to 
non-fans will feel like medieval torture. 
Some of the bits are very funny, and the Py- 
thons have invented several forms of en- 
gagingly wacky doubletalk, but many se- 
fea are for die-hard mavens only. 


MOUSE THAT ROARED. (1961). The 
world’s smallest nation, a mid-European 
duchy called Grand Fenwick, declares war 
on the United States, planning to lose with- 
out bloodshed and beef up their failing 
economy with American foreign aid. Un- 
fortunately, Grand Fenwick wins. Jack 
Arnold’s light political farce remains hilar- 
ious, as do Peter San triple perform- 
ances. Harvard S 

KTHE MARRIAGE OF MARIA BRAUN 
(1979). Rainer Werner Fassbinder's film is 
an epic comedy charting the parallel ob- 
sessions of a woman and a nation in the 
post-war years of the German Economic 
Miracle. Swift, assured, and economical, 
it's clearly the work of a cinematic master. 
Fassbinder hasn’t toned down his elabor- 
ate style, but this time the astringent wit, the 
framing devices, and the waltzing camera 
work have been harnessed to a superb 


story (and an outstandin ng screenplay by 
Peter Marthesheimer and Pea Frohlich). 
Hanna Schygulla is Maria, @ woman who 
devotes her life — with a ruthlessness that 
seems at once terrifying and utterly inno- 
cent — to the husband she hardly knows, 
mostly because nothing has come along to 
dispel her devotion. And if Fassbinder's 
Germany seems hideous at times, Schy- 
fate — who in this film represents her 
Wel “edged less than mesmeriz- 


SAMY BRILLIANT | CAREER (1979). A gifted 
Australian director named Gillian Arm- 
strong, working from an autobiographical 
1897 novel, has produced an uneasy but: 
consistently engaging mixture of romantic 
comedy and feminist uplift. The central 
romance, pitting an erflamed and frustrated 
country girl (the radiant Judy Davis) against 
a laconic gentleman farmer (Sam Neil) who 
seems an ideal mate for her, is undercut by 
her simmering desire to write. The career 
vs. marriage conflict seems trumped up 
here, since the alternatives to marriage are 
very bleak, indeed; and it sours our pleas- 
ure. Still, Armstrong is a very sharp-eyed 
director, with a crisper sense of pace and 
character than any of her colleagues down- 
under. This is a brisk, enjoyable movie, with 
some wonderful supporting performances: 
especially Pat Kennedy's, as an elderly 
spinster aunt who is an earlier type of “free 
woman,” 
first suitor, a raging twit who bears down 
upon her, glassy eyes agleam, like a coke- 
fiend Bertie Wooster stranded in the out- 
back. Orson Welles. 


N 


ANIMATION. FROM THE NATIONAL 
FILM BOARD OF CANADA. An unusually jack- 
luster selection from one of the world’s 
animation studios. included are Lyon 
mith’s “This Is Your Museum Speaking,” a 
beautifully drawn but rather preachy paean 
to culture; Ernie Schmidt's “Flashpoint,” a 
melodramatic disaster cartoon; Brad Cas- 
tor and Chris Hinton’s “Blowhard,” an 
amusing comment on the energy crisis that 
takes us to a land where heat and light 
come from the breath of dragons; Ellen 
Bessen’s “Sea Dream," a nearly insuffer- 
able bit of poetic whimsy; and a slew of 
clever 60-second tours de force, including 
a newscast set in 1878. Center Screen at 
the Carpenter Center. 
THE NINTH CONFIGURATION (1980). William 
Peter Blatty, author of The Exorcist and 
noted talk-show theologian, fashions a gon- 
zo religious parable from some very unlike- 
ly materials: a loony bin in a castle, a group 
of psychotic Vietnam veterans, and a chief 
psychiatrist (Stacy Keach) who is actually a 
mass murderer. With Scott Wilson and Ne- 
ville Brand. See “Trailers.” Exeter, All- 
ston, suburbs. 
**NOSFERATU (1979). That. most_per- 
versely primitive of film directors, Werner 
Herzog, has remade F.W. Murnau’s clas- 
sic silent vampire film. The result is an of- 
ten boring*collection of fragments — a sort 
of View-Master Dracula, — with a few auth- 
entically eerie moments. It actually has one 
scene that deserves a place in the all-time 
honor roll of chills; Klaus Kinski, a reptilian, 
oddly pitiable Dracula, is detained at the 
bedside of Lucy (Isabelle Adjani), who un- 
expectedly responds, with a yearning mo- 
tion of her whole body, when the fangs sink , 
in. That's a memorable image of the sexi-) 
ness.of evil, but the film as a whole, :while- 
often striking, never settles on a consistent 
approach to the vampire legend. Bruno 
Ganz, as Jonathan Harker, seems to be 
fighting to keep his eyes open, and you 
may, too. Coolidge Corner. 


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Continued from page 26 tricks,.wi lively. literate,.ecri 

| 
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kkk KPADRE PADRONE (1977). A brilliant 
film made for Italian television by two 
brothers, Paolo and Vittorio Taviani, this 
story of the conflict between a young, 
crushingly Sardinian shepherd 
and his brutal father is raw, passionate, and 
breathtakingly innovative. Instead of being 
based on narrative movement, the film 
comes at you in explosive emotional bursts. 
Almost miraculously, it conveys both the 
terrible isolation of the Sardinian hills and 
an exhilarating feeling for what is shared 
within that isolation: fear, joy sexuality, 
shame. It may strike some viewers as a bit 
cold, but that’s because the Tavianis have 
avoided the easy road to our feelings — 
melodrama — in an attempt to evoke a dif- 
ferent sort of experience: vaster, harsher, 
more awesome. Padre Padrone is a sub- 
lime, sardonic pastorale — and it boasts 
one of the most eel oe in re- 
cent AY IT AGAIN, SAM 
IT AGAIN, SAM. (1972). ‘Wood 
len’s stage play filmed by Herbert 
with Woody as a movie buff who figures he 
can learn from Bogie’s screen roles how to 
win a girl. Less madcap than most of 
Woody's early farces because it’s in more 
staid directorial hands, but charming — 
even sad — nevertheless. With a very 
—— performance by Diane Keaton. 
larvard Square. 


R 


LIFE (1979). This first feature film 
by the gifted comedian Albert Brooks is a 
wild parody of cinema verite documentar- 
ies like An American Family, an extended 
Satirical attack on jargon-spouting sociolo- 
gists and psychologists, and a collection ot 
some of the funniest gags in any current 
movie. But for long stretches the film is ac- 
tually tedious, and it goes totally out of con- 
trol near the end. Brooks launches an at- 
tack on various artificial methods — 
cinematic and scientific — for capturing 
. and studying life, methods that finally de- 
stroy what they’re trying to observe. But the 
filmmaker can't capture it himself: the ul- 
tra-ordinary Arizona family that Brooks 
(playing a comedian named Albert Brooks) 
lescends on with his film crew is so color- 
less that nothing is really at stake in the sa- 
tire; it's part of the joke that this family’s 
empty life isn’t worth recording in the first 
place. Coolidge Corner. 
KRICHARD PRYOR — LIVE IN CONCERT 
1979). This filmed stage performance — 
ryor’s one-man stand-up act — has doz- 
ens of plots, innumerable characters and 
more laughs than any movie in memory. 
There are torrid sex scenes, shoot-outs, 
even conversations with talking dogs. Rich- 
ard Pryor is a jive-talking Proteus. Before 
your eyes he turns into a horny monkey, his 
own grandmother, a miniature horse, a dog, 
and then a different breed of dog — and 
you can tell the breeds apart. Pryor is an 
original whose profanity springs from a 
heartfelt search for truth — truth that's 
ordinarily too intimate and embarrassing to 
surface in our language and thinking. He 
digs away at double talk and euphemism, 
the better to unearth buried experience. 
One comes away convinced that his 
coiriedy is fueled by fear and even hatred; 


berates u 
SHOBERT ET ROBERT (i379), 


Lelouch’s wet, self-congratulatory comedy 


is promising at first, because the heroes — 
two dim bulbs named Robert — are such a 
departure from most of Lelouch’s glamor- 
ous, self-pitying characters. Drifting into a 
friendship, hatchet-faced 
Charles Denner (in a grotesque, per- 
‘Bicrer performance) and fat, soft Jacques 
lleret (a wonderful sad-clown of an actor) 
engage in some low comedy during which 
Lelouch reins in his florid style. But when 
the two pals are rejected by one woman 
after another, Lelouch lays on the bathos. 
he sets about fabricating a bliss- 

ful ending, his self-advertisement is shame- 
less. Jacques Villeret is marvelous and 
nightclub owner Regine does a witty turn as 
his mother, but the movie as a whole is a 
shallow, manipulative fraud; its only real 
subject is the melting sensitivity of Claude 
Lelouch. Galeria. 
THE ROCKY HORROR PICTURE SHOW (1976). 
A second-rate rock revue, mixing homo- 


tit 


sexuality, camp sadism, and spoofs of old 
horror movies. The adaptation of the Lon- 
don stage hit about a square couple in the 
clutches of kinky Dr. Frank’n’furter has be- 
come a Cult item all over the country. Our 
warped readers are hereby advised that it’s 
far too tame and far too clumsy to measure 
up to their fantasies. However the film's 
audiences are something else. Starrin tt 
Curry, with Richard O’Brien, Bar 

wick and Susan Sarandon. Directed | by sm 
Sharman. Exeter. 

#&*THE ROSE (1979). Mark Rydell’s film, 
about a doomed rock singer very like Janis 
Joplin (Bette Midler), is a howling night- 
mare of rock 'n’ roll life that delivers all the 
familiar cliches about success and self-de- 
struction, sometimes piling them three or 
four deep. But it holds us nevertheless. 
Midler, in her surprisingly effective film de- 
but, hasn't yet developed techniques for 
protecting herself on screen; her all-out 
performance is sordid, freakish, hypnot- 
ically ugly. Still, she has extraordinary con- 
viction, and the movie, too, leaps over its 
own failures, winding up closer to the way 
life feels on the rock trail than any fiction film 
ever has. Charles, suburbs. 


Ss 


e@SATURN 3 (1980). In its present form 
(which bears the scars of panicky last- 
minute cuts), Stanley Donen’s sci-fi 
melodrama is a hopeless mess. Not even 
the playfully kinky tone and some splashy, 
colorful compositions (Donen is, after all, 
the director of Such classic musicals as On 
the Town and Singin’ in the Rain), or the 
underlying cleverness of the script, (by 
British science-fiction writer Martin Amis, 


aa 


Kingsley’ 's brother) are enough to kee 
film from dribbling off into comic pe 
incompetence. As the only residents of a 
research station on Saturn's third moon, 
Kirk Douglas — amazingly fit-looking at 64 
— and Farrah Fawcett — sexier (and 
nakeder) than ever but still far from an 
actress — are a couple trying to preserve 
their happy monogamous relationship. But 
in the 21st Century, Earth has become a 
sort of interstellar Plato's Retreat, and 
representatives of the new order may come 
looking for you. Enter Harvey Keitel, a 
psychopathic scientist in a black. leather 
space suit, whose loveless designs on 
Farrah’s flesh (“You have a great body,” he 
observes, “May | use it?”) are inadvertantly 
passed on, by way of a grisly bit of hard- 
ware known as “the direct input channel,” 
to an eight-foot robot named Hector. Very 
little of the dirty-joke potential of the theme 
is realized; in fact, the last half of the film is 
just a lurching, tedious chase. Saxon. 
BEAUTIES (1975). Giancarlo 
Giannini plays a macho Italian whom the 
horrors of life in a concentration camp force 
to consider whether mere survival isn't 
enough, especially in a world turned topsy- 
turvy By war, sex and Lina Wertmueller's 
somewhat numbing cinematic pyrotech- 
nics. Though this is her most technically ac- 
complished film, it is not her best, and the 
tale suffers from a surfeit of effects. A sub- 
plot about Giannini’s courtship of a mon- 
strous lady commandante is affecting in a 
grotesque sort of way, but several of the 
other interlaced vignettes — the cute cut-up 
of a murdered pimp, for instance, or Fer- 
nando Rey's showy death by latrine — 
seem meretricious and unnecessarily 
gross. Harvard Square. 

Continued on page 30 


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THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


30 


CHANCE 
LANGTON 
OMEDY NIGHT 


with Guest Comedians 


DING #O 


Comedy Club 
13 Springfield St., Inman Sq. 
Cambridge 
Tix: $3.50 at door 


Sun., March 16, 1980 
The New. England Women’s 
Symphony Chamber Players 

in concert 
Longy School of Music 
1 Follen St., Cambridge 
8p.m. tickets $3.75 
featuring Virginia Eskin pianist 


\ Info: 661-7701, 472-0174 j 


Lutyens 


Chorus pro Musica 
Alfred Nash Patterson, Founder 
Friday March 14, 1980 
6 ‘Old South Church, Copley Square, Boston 


Donald A. Palumbo, Conductor 


8:00 pm 


Mass in E minor 

Stravinsky Mass for Mixed Chorus end 
Double Woodwind Quintet 
Missa Brevis World Premiere 


Tickets: $4.00 and $6.00 ATS Vouchers accepted 
For information and ticket orders call 267-7442 


THURS. & SAT. at 8! 
SUNDAY at 2! 


O 
OF SDE SHREW 


repertory with 


L—RESERVATIONS 267-5600 


The Mass. Council on 
the Arts & Humanities; 
Boston University; 
University of Lowell; 


present the 


BRASS 
@UINTET 


at Sanders Theatre, 
Cambridge 
Sunday, March 16 
8 p.m. 
for information call 
(617) 267-2549 


Tickets on sale at BUSI 


as 

Continued trom page 29. 

*%%*xSHOOT THE PIANO PLAYER (1960). 
Truffaut's exuberant, tragic second film 
seems cruder today than in 1960, but it re- 
tains its freshness of viewpoint. Charles Az- 
navour is charming as the ex-concert pian- 
ist hounded by gangsters who are no less 
dangerous for all their bumbling. A ticklish, 
surprising and movie. 
Nicole Berger. 

A SMALL CIRCLE oF FRIENDS (1980). 
Producer Rob Cohen (Thank God 
Friday) turned director on this vlanguier 
romantic comedy, set at Harvard during te 
turbulent ‘60s. Brad Davis (Midni 7 
Express), Karen Allen (Animal House, 
Wanderers, Cruising) and Jameson 
Parker (The Bel! Jar) are three college 
chums who live through demonstrations, 
drugs and romantic entanglements, in and 
(The film was shot here last 
year). Pi Alley, Academy, suburbs. 
TARTING GvER (1979) ‘Burt Reynolds is 
miscast yet winning as a disoriented, re- 
cently divorced man in Alan Pakula’s 
urban-neurosis romantic comedy. The film, 
although loose'y based on an autobio- 
graphical novel by Dan Wakefield, feels al- 
most totally derivative , as if it's setting out to 
capture the audience created by An Un- 
married Woman and Annie Hall. But this 
kind of comedy, based on repeated flashes 
of recognition, requires absolute accuracy, 
and the details of professions and lifestyles 
in this film, shot mostly in Boston, are often 
miles off the mark. The movie turned into 
a big hit anyway, because Reynolds has 
become such a potent star figure that audi- 
ences laugh and applaud when there's lit- 
tle to hold onto but the hero’s vish reac- 
tions to the other characters. The only per- 
son who escapes his scorn is Jill Clay- 
burgh, playing the divorced teacher Reyn- 
olds falls for. She gives a complex and en- 
gaging performance as a woman strug- 


gling to live up to a quasi-feminist image of . 


what a woman on her own should be. Har- 
vard Square. 

STAY AS YOU ARE (1979). The latest cult 
favorite of the raincoat brigade (Junior Miss 
division) is this. soft-core Italian import 
starring teen siren Nastassia Kinski 
(daughter of Klaus). Marcello Mastroianni 
was the lucky gent selected to initiate Mlle. 
Kinski into the joys of the flesh. Directed by 


* SWEPT 
DESTINY IN BLUE SEA AUGUST 
Lina Wertmueller’s provocative fable of a 


Whether you walk school 
carry your lunch, 
listen Ken Shelton 
with both hands. 


tM 


Monday 


NVWHSN8/8383198 


Ken Shelton — new and now on 
— Friday 10 a.m. — 2 p.m. 


VWSC1 


shrew and the dec. 
hand keeps under her thumb until, find- 
ing themselves marooned on a desert isle, 
they undergo a revolutionary switcheroo. 
Lionized by some and lambasted by others, 
this oft-misunderstood fantasy is neither the 
sexist manifesto nor the breathy romance 
it's variously been made out to be. Wert- 
mueller’s game of sexual politics is played 
very tongue-in-cheek, and Giancarlo Gian- 
nini and Mariangela Melato give fine, ironic 
performances. Harvard Square. 


*%*TAKE THE MONEY AND RUN (1969). 
Woody Allen's first stint as producer-direc- 
tor-star, in which he casts himself as Virgil, 
a crook frequently confined to the hoose- 
gow and so inept that he can never hope to 
achieve his dream: a place on the FBI's Ten 
Most Wanted list. gn bang A funny, and the 
jokes, as usual, are strictly hit-or-miss. Har- 
vard Square. 
39 STEPS (1935). One of the 
great Hitchcdck films and an early demon- 
stration of the finesse and virtuosity that 
would characterize his later work. Here are 
the attention to detail and point-of-view, the 
liberties taken with the scenario so that 
every scene is fun, the starting complete- 
ness of characterization (witness Mr. 
Memory, whose faculty provokes both the 
solution of the film's mystery and his own 
death), and the transitions that are them- 
selves exquisite cinema. Robert Donat 
plays a young Canadian searching eerie 
Scotland for a spy ring whose machina- 
tions have caused the stabbing of a woman 
in his Brattle. 
%&&&TIME AFTER TIME (1979). This first film 
directed by novelist Nicholas Meyer (The 
Seven-Per-Cent Solution) is the year’s 
most beguiling flight of fancy, a tall tale 
which proposes it H.G. Wells (Malcolm 
McDowell) might have constructed a work- 
ing model of his famous time machine and 
used it to pursue Jack the Ripper (David 
Warner, turning in his best performance 
since Morgan!) to contemporary San 
Francisco. The details of Wells's disil- 
lusionment with the modern world (he had 
expected Utopia) and the interplay be- 
tween this tweedy Victorian and the quirky 
bank official (Mary Steenburgen) he falls 
for, are expertly conceived and beautifully 
acted. Much of the movie is pretty hard to 
swallow, but watching it makes us be- 
lievers — because it makes us want to 
believe. Galeria. 
HAVE AND HAVE NOT (1944), “Just 
put your lips together and blow,” instructs a 
sultry 19-year-old Lauren Bacall, and Hum- 
phrey Bogart, as a fishing boat skipper 
drawn reluctantly (of course) into anti-Nazi 
intrigue, learns how to whistle. Howard 
Hawks directed this extremely loose Hem- 
ingway adaptation with a great deal of 
verve, and Walter Brennan added his us- 
ual endearing if exaggerated support. Har- 
vard Square. 
TO FORGET VENICE (1979). The latest film by 
Italy's Franco Brusati couldn't be more un- 
like his last, the acclaimed comedy Bread 
and Chocolate. in a villa outside Venice a 
former opera singer (Hella Petri) presides 
over a menage composed of two homo- 
sexual couples: regular Erland 
Josephson and lover David Pontremoli; and 
Wertmueller stalwart Mariangela Melato 
heartthrob Eleonora Giorgi. Orson Welles, 
%*2001: A SPACE ODYSSEY (1968). 
Stanley Kubrick’s science fiction epic is a 
cinematic landmark, stretching the me- 
dium to its limits. Incredibly ambitious, it ex- 
plores the nature of man in the hierarchy of 
the universe, and its plot is the whole of hu- 
man history. No other film has ever mat- 
ched its immaculate special effects, nor ex- 
plored so seriously the possibilities inher- 
ent in the sensuous response of an au- 
dience. An extremely entertaining film, for 
all its metaphysical clout. Nickleodeon. 


W - 


&THE WAR AT HOME (1979). Filmmak- 
ers Glen Silber and Barry Brown spent four 
years assembling news clips, Army and Air 
Force films, and interviews with 20 people 
to trace a history of the anti-war movement 
in Madison, Wisconsin from 1963 to 1973. 
The footage has been carefully structured 
to document the growth and tactics of the 
protestors as the war escalated. The care- 
ful, distanced approach makes the film a 
painful, thought-provoking experience in- 
stead of a nostalgia trip, and though the 
movie leaves out a great deal @he counter- 
culture of the period is barely touched on), 
it also works something of a ntfiracle, 
capsulizing in 100 minutes a major change 
in American consciousness. Central 
Square. 

%**xA WOMAN IS A WOMAN (1961). Not one 
of Jean-Luc Godard’s better films, this early 
effort is a romantic musical comedy (with 
score by Michel Legrand) that is just odd 
enough to presage what was to come. Shot 
on a soundstage, in color and Cinema- 
scope, it stars Anna Karina (who was then 
Godard's wife) as a young woman who 
desperately wants a baby. When the man 
she lives with (Jean-Claude Brialy) refuses 
to oblige, she enlists the services of his best 
friend (Jean-Paul Belmondo). The result is 
a strange mix, indeed: the conventions of 
musical romance become a vehicle for the 
director's misogyny. Institute of 
Contemporary Art. 

**THE WOMEN (1940). For some reason, 
this George Cukor adaptation of Clair Booth 
Luce’s high-pitched, “venomous” play has 
gained a critical and popular following. 
Homosexuals used to love it for the non- 
stop female bitchery and and, in recent 
years, feminists have mistakenly thought 
that its exclusion of men was a statement on 
behalf of female companionship. Actually 
the movie is obsessed with men and its por- 
trait of women is absurdly retrograde (and 
this was true in 1940, too). But the superb 
ensemble includes the great ladies of 
MGM: Norma Shearer, Rosalind Russell, 
Joan Crawford, Joan Fontaine, Paulette 
Goddard, et al. West Newton. 


Y 


***xYELLOW SUBMARINE (1968). George 
Dunning's colorful, inventive animated fea- 
ture based on (and featuring) dozens of 
Beatles songs, in which rather bland rep- 
licas of the Fab Four rescue idyllic. Pepper- 
land from the depradations of the Biue 
Meanies. During plunders pop art and 
cartoon images from hundreds of sources 


but the swirling patterns he creates from —. 


them are original and elating. Harvard 
Square. 


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SYMPHONY 
RCHES concert information — 
Sp ozawa A) Dial C-O-N-C-E-R-T 
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Play play 


compiled by John Engstrom 


showcase revue presented at Chatham's Corner 
Restaurant and Lounge, 6 Commercial Street, 


Starring Harry 


(426-4520), through March 16. Curtain is at 8 
p.m. Tuesday through Saturday; at 7:30 p.m. 
Sunday; at 3 p.m. Saturday and Sunday. Tix 
$12-$22.50. 

THE COMEDY CONNECTION. Billed as Boston's 
foremost comedy showcase. Curtain is at 8:30 
p.m. Wednesday through Friday (Wednesday is 
open-mike audition night) at Tommy Maher's 
Showroom, 15 Hamilton Place, Boston (426- 
6735); and Saturday and Sunday at 8:30 p.m. 


at The Jumbo Lounge, 1133 Broadway, 
Somerville (623-9257). Tix $2-$3.50. 
THE COMEDY OF ERRORS. This production of 
Shakespeare's first play, a Plautine farce about 
mistaken identity among two sets of twins, is 
Set in the silent-movie era, and comes com- 
plete with slapstick, Keystone Kops, and bar- 
bershop harmony. The concept is not so much 
Offensive as fuzzy: are we watching a staged 
film, a film parody, or a stock-company pro- 
duction circa 19207? Whichever, the cast per- 
forms with the needed verve. In repertory with 
The Taming of the Shrew at the Boston Shake- 
speare Company, 300 Massachusetts Avenue, 
Boston (267-5600), through April 4. Curtain is 
at 8 p.m. Wednesday and Friday. Tix $4-$8.50. 
CONSTANT COMEDY is unleashed at 9 p.m. 
Wednesday through Sunday, at Ding Ho, 13 
Springfield Street, Inman Square, Cambridge 
(661-7701). Tix $1-3.50. 

DAUGHTER OF EARTH. An adaptation by Lydia 
Sargent of feminist journalist Agnes Smediey’s 
autobiographical novel recounting her experi- 
ences as a frontier child of poverty, teacher, 
Student and activist. At the Newbury Street 
Theater, 565 Boylston Street, 

8894), through April 6. Curtain is at 8 p.m. Fri- 
day through Sunday. Tix $3.50. 

GEMINI. This Obie Award-winning comedy by 
Albert Innaurato, currently the longest-running 
Straight play on Broadway, is set in a Phila- 
delphia backyard and is about a Harvard stu- 
dent panicked by his ambiguous sexual iden- 
tity. Innaurato might have written a touching 
play about sexual awakening, but his sopho- 
moric sense of humor prevails, turning the play 
into a sort of “Animal House of Blue Leaves,” 
with pasta fights and pastry demolitions. Peter 
ae Schifter’s noisy production emphasizes 


Boston (261- 


— but it is funny and occa- 


grossness 
sionally moving. At the Charles Playhouse, 76 


Warrenton Street, Boston (426-6912), through 
April 13. Curtain is at 8 p.m. Tuesday through 
Friday; at 6 and 9:30 p.m. Saturday; at 3 and 
7:30 p.m. Sunday. Tix $9.50-$12.50. 

HOLD ME/LET ME 60. A dramatic collage, pieced 
together from excerpts of Edna St. Vincent 
Millay, Virginia Woolf, Erica Jong, Shelagh De- 
laney and Frank Wedekind, about the mother- 
daughter relationship. Created and performed 
by Shirley Nemetz-Ress and Kathleen Patrick. 
At the Reality Theater, 26 Overland Street, Bos- 
ton (262-4780). Curtain is at 8 p.m. Thursday, 
March 13, through Saturday, March 15. Tix $3. 
CHANCE LANGTON COMEDY NIGHT. With special 
guests. Saturday at 8 and 10:30 p.m. at the 
Ding Ho Comedy Club, 13 Springfield Street, 
Inman Square, Cambridge (661-7701, 472- 
0174). Tix $3.50 at door. 

A LITTLE KNIFE MUSIC. The annua! Hasty Pud- 
ding show is a “tongue-in-cheek Victorian tale 
of love, revenge, and murder.”A lot of trans- 
vestitism and puns. At the Hasty Pudding Thea- 
ter, 12 Holyoke Street, Cambridge (495-5205), 
through March 19. Curtain is at 8 p.m. Sunday, 
and Tuesday through Friday; at 5 and 9 p.m. 
Saturday. Tix $7.50-$8.50. 

WAIMPENDGAME IN KIRYAT GAT. The American 
premiere of two Israeli plays, both directed by 
their adaptor, Nora Chilton. At the Spingold 
Theater, Brandeis University, Waltham (894- 
4343), through March 15. Curtain is at 8 p.m. 
Wednesday through Saturday, and at 7 p.m. 
Sunday. Tix $4.25. 

PAPER WEIGHT. This new comedy, set in an in- 
surance company and billed as “a humorous 
look at the clerical profession and the world of 
work,” will be presented by the Rhode Island 
Feminist Theater at the YWCA on Clarendon 
Street, Boston (864-0291). Curtain is at 3 p.m. 
Sunday, March 9. Tix $5,$14 for senior citi- 
zens. 

PERFECT PICTURES. reading of a new 
play, by William Kramer, about a 50-year-old 
woman's confrontation with questions about 
two falled marriages and her own identity. Part 
of the Playwrights’ Platform series of plays by 
recipients of the Artists Foundation’s 1980 
playwrighting fellowships. At the Next Move 
Theater, 955 Boylston Street, Boston (482- 
8100). Curtain is at 8 p.m. Monday, March 10. 
Tix free, requested donation $1. | 


ROOM TO GROW. Staged reading of a new play by 
Elaine Cohen. At the Nucieo Eclettico, 37 Clark 
Street, Boston (742-7445). Curtain is at 2 p.m. 
Sunday, March 9. Tix $1. 

SHEAR MADNESS. The gimmick of this stock 
murder-mystery set in a swank Newbury Street 
hairstyling salon is that, each night, the audi- 
ence is invited to play detective and, event- 
ually, to vote on whodunit. This game, which is 
rather like Clue with Vidal Sassoon sitting in for 
Colonel Mustard, proves to be tedious in the ex- 
treme. Fortunately, the show’s cabaret setting 
permits the spectators, unlike real detectives, 
to drink on the job. It helps. At the Charles Play- 
house, Stage |i, 76 Warrenton Street, Boston 
(426-5225), through March 16. Curtain is at 8 
p.m. Tuesday through Thursday; at 6:30 and 9 
p.m. Friday and Saturday; at 3 p.m. Sunday. 
Tix $8-$10. 

SUMMER AND SMOKE. Alma Winemiller, the frail, 
sexually repressed Southern spinster of Ten- 
nessee Williams's drama, is still smoldering — 
this time beneath the weight of an overiong, 
heavy-handed production by the Court Reper- 
tory Theater. At the First and Second Church, 
66 Marlborough Street, Boston (267-9446, 868- 
3555), through March 16. Curtain is at 8 p.m. 
Friday through Sunday, and at 2 p.m. Satur- 
day. Tix $4-$6. 

THE TAMING OF THE SHREW. A fast-paced re- 
vival of Shakespeare's early comedy about sex- 
ual harassment. Director Richard McElvain 
stresses the play's innate theatricality without 
smothering it in gags; and BSC regualrs Henry 
Woronicz and Janet Rodgers turn in full- 
blooded, feisty performances as Petruchio and 
Kate. In repertory with The Comedy of Errers at 
the Boston Shakespeare Company, 300 Massa- 
Chusetts Avenue, Boston (267-5600), through 
May 9. Curtain is at 8 p.m. Thursday and Satur- 
day, and at 2 p.m. Sunday. Tix $4-$8.50. 
THIS END UP 1980. A new edition of last year's 
hit comedy revue with music, taking a humor- 
ous look back at the 70s, and at what may lie 
ahead in the ‘80s. Its first half wobbles badly, 
but it does come alive in the second, with hard- 
hitting satire — on subjects as diverse as Ted 
Kennedy, noise pollution, and the Middle East 
crisis — and a few routines as poignant as 
pointed. The cast, for the most part, soars 
above the material. At the Next Move Theater, 


955 Boylston Street, Boston (536-6769), 
through April 27. Curtain is at 8 p.m. Wednes- 
day through Friday, 7 and 9:30 p.m. Saturday, 
7:30 p.m. Tix $7.50-$9.50. 

FOR 


+ 


a mother’s interference with her 
ion to marry; more family misery. 
from one.of the NE's Sunday staged 
. At the Nucleo Eclettico, 37 Clark 
Boston (742-7445), through March 30. 
in is at 8:30 p.m. Friday through Sunday. 
Tix $4.50. 
A TOUCH OF THE POET. Eugene O’Neill’s drama 
about a ne’er-do-well Irish-American bar- 
tender, loaded with blarney, memories, and 


efi 


well served by this revival, directed by Polly 
Hogan. At the Lyric Stage, 54 Charles Street, 
Boston (742-8703), through March 22. Curtain 
is at 8 p.m. Wednesday through Friday, and at 
5 and 8:30 p.m. Saturday. Tix $4.50-$6.50. 
THE TRANSFIGURATION OF BENNO BLIMPIE. A play, 
by Albert Innaurato (author of Gemial), about a 
500-pound teenage boy eating himself to death; 
also about the destructiveness of society. At the 
Inman Square Alley Theater, 1348 Cambridge 
Street, Cambridge (492-9567), through March 
23. Curtain is at 7:30 p.m. Thursday through 
Sunday. Tix $4.50, students and senior citi- 
zens $3.50. 

WINDFALL. Premiere of a new musical by Maxine 
Klein and James Oestereich, about three tramps 
and the perils of chemical and nuclear warfare 
— which sounds like a cross between “Modern 
Times” and “The China Syndrome”. Presented 
by the Little Flags Theater at the Boston Center 
for the Arts, 539 Tremont Street, Boston (426- 
5000), through April 19. Curtain is at 8 p.m. 
Thursday through Saturday. Tix $4. (See re- 
view in this issue.) 

WORL' DO FOR FRAID: AN AFRICAN HOMECOMING. A 
new play, by Nabi Swaray, purportedly about 
“revelations of the enigmatic African soul.” 
Presented by the Onyx Repertory Ensemble at 
the Boston Arts Group Theater, 367 Boylston 
Street, Boston (267-7196), through March 23. 
Curtain is at 8 p.m. Wednesday through Satur- 
day, and at 2 p.m. Saturday and Sunday. Tix $4 
evenings, $3 matinees. 


‘Lt HOUVW NOILOAS ‘XINZOHd NOLSOS SHL 


presen 


CHARLIE BYRD 
STAN GETZ 
DIZZY GILLESPIE 


JAZZ AT THE STRAND 
M. HARRIET McCORMACK 
ts CENTER FOR THE ARTS 


$7, $8, $9 MAR. 22 
$7, $8, $9 APRIL 24 
$7, $8, $9 MAY 24 


TICKETS NOW ON SALE 
TICKETRON, BOSTON TICKET CHARGE & BOX OFFICE 
(617) 542-3200 
(VISA, MC, all major Credit Cards) 
543 COLUMBIA RD. 282-8000. 


FINAL 2WEEKS ! 
“This production by the Court 
Repertory Theatre represents a 
promising beginning. Old 
Tennessee would probably tip 
his panama hat and smile.” 
—Terry Ann Knopf, Boston Globe 


Tennessee Williams’ 


SUMMER 


“Hilarious, innocent, inoffensive” 
-Friedman, Real Paper 
EARL WILSON JR’S 
HIT BROADWAY 


MUSICAL 


let my people 


a sexual musical 


TUES., WED., THURS., FRI. 8 PM 
SAT. 7:30 & 10:00 


THE BOSTON REP 
- 1 BOYLSTON PLACE, 
BOSTON 
Student Rush Tickets $6.00 
For info & Tel. charges, 

‘ VISA, M.C. call (617) 423-6580 


Thru Marl6 
““...one of the most enter 
taining evenings out you 
can imagine... 
utterly delightful” 


ELLEN PFEIFER’ 


BOX Boston Ticket Charge 
(617) 426-5225 ‘No Service Cae 


AND SMOKE 


Friday. Saturday, Sunday 
evenings at 8 p.m., 
Saturday matinee at 2 p.m. 
(evenings. $5.$6. matinees $4. $5.) 
For further ticket information 
call 267-9446 

Court Repertory Theatre 


64 Maribaro Street Boston 
; corner of Berkeley 
and Marlboro 


THEATRE 
& DANCE 


THE COMNELY CONNECTION 


9 Hamilton Place, Boston 
(near Orpheum Theatre) 
Every Wed.-Fri. 

8:30 PM 
Admission $3.50 
Wednesday 
Open Mike Night 
8:30 PM 
Admission $2.00 


NE AT 

TOMMY MAHER’S 5 
SHOWROOM yew THE 


JUMBO LOUNGE 


1133 Broadway 
Teele Sq., Somerville 
Sat. & Sun. 

8:30 PM 


Admission $2.50 


CATCH BOSTON’S BEST COMEDIANS! 
‘ FOR INFO & RESERVATIONS CALL 426-6735 


“Plenty of goosin 


tweaking, sexual 
shenanigans, pasta 
f 


Wonderful!” 


NOW! BY INCREASED DEMAND! 
2 SHOWS SAT NITES 9PM & 11 P 


926-0188 
354-1724 
CROSSROADS 


STAURANT & 
495 Beacon (at Mass A 


available during’ show. 
SAT. NITES 


se Also at the CROSSROADS 


COMEDIANS “OPEN MIKE NIGHT” 
Hosted by Ross Bickford “The Cab Driver” 


Show starts 9 PM No cover 
Also! Thurs. Nites! 
FIND THE COMEDY CA 

IN THE WATERFRONT A 


Into. & res. 661-7701 


Kevin Kelly. 


ton Str 
ass. 02 


MANDALA 


Folk Dance Ensemble 


An evening of 
international folk dance, 
music and song 


“EX HILARATING”’ 
— Boston Globe 


“MAGNIFICENTLY 
CQLORFUL” 
WCRB 


—WC 
Friday, March 21 and Saturday, March 22 
8:30 pm in John Hancock Hall 


Tickets $8, $6, $4 available at Bostix , 
or by calling 868-3641 


SHOWCASING TOMORROW'S STARS AT 


ateau deVille 


Every Thursday Nite in Saugus 
Every Friday Nite in Framingham 
Every Saturday Nite in Randolph 


Jct. Rtes 128 & 28, Randolph 


Rte. 99, Saugus 
Rte. 9, Framingham 


Le 


ANME. Harold Gray's famous comic strip, 
sia transmuted by Broadway craftsmanship into a 
ee monument of kitsch, with 10 (count ‘em) lavish 
et sets, a chorus of dancing moppets, live dogs, 
aa | Christmas, and Norman Rockwell tableaux. 
With its mindless optimism and political king to 
naivete, this is not a show for cynics; but its pretensions. An see 
anes professionalism and sheer chutzpah allow one confer a historical sweep on a family saga, it is 
aS: to feel good without feeling foolish. At the 
Colonial Theater, 106 Boylston Street, Boston 
(426-9366), through April 26. Curtain is at 8 
p.m. Tuesday through Saturday, with matinees 
on Wednesday and Saturday at 2 p.m. and 
Sunday at 3 p.m, Tix $11-$20. ° 
ROSS BICKFORD'S COMEDY CAB, a comedy 
Boston (926-0188, 354-1724), Thursday at 
9:30 p.m. Also Saturday at 9 and 11 p.m., and 
Sunday (open-mike night) at 9:30 p.m. at 
Crossroads Restaurant and Pub, 495 Beacon 
Street, Boston. Tix $1-$3. 
THE BIG BROADCAST OF 1944. 1944 may not have 
been a banner year for popular song, but this 
faithful recreation of a typical swing-era radio 
variety show has schmaltz, nostalgia, and a 
spectacular Art Deco set — if not much bite. 
«James and his Orchestra, 
___ Warren Covington and the Pied Pipers, the Ink 
Spots, Hildegarde, and many others. At the 
Shubert Theater, 265 Tremont Street, Boston 
| 
H 
| i 
. 
“Wed. open mike night” Moservice charge” wite - 8 
CORNER Clarke” All Ticketron Outlets! every de Vile, 
#6 Commercial St: Wes Thurs. Sum Char les Playhouse the comedy cau 
Quincy Marketplace ts next door-to 6Warren _ eet. Bostor ol 


TED MUSIC MART 


Where: 


Where: 


A LARGE MUSICAL DEPARTMENT STORE 
(Only 60 minute drive north of Boston) 


Our most important Asset is the customer. Where: Appraisals are free. 


Where: We offer legitimate value on your trade-ins. 
(Not legally steal them). 


We find time to be courteous to you. 


Where? Senice is a fact and not just a word. Where: Prices are extremely competitive. 
Where: We service not only what we sell, but Where: You save much more than the price of gas used by 
what others have “goofed up”. driving up here by not paying any “sales tax”. 
Where: Professional Musicians and specialists serve you Where: Refunds are cheerfully given (7 days) if you are not 
in every department. ; satisfied with your purchase from us. 
Where: We accept mail and phone orders: merchandise 
will be shipped UPS the same day you call. 
Where: We stock 
Music Sheet Music, Pop/Rock Books, Method Books 
Band Instruments — Selmer, Benge, Bach, Conn, Buffet, Yamaha, King, LeBlanc, Couf, Armstrong, 
Drums — Slingerland, Ludwig, Rogers, Sonar, Premier, Tama, Pearl, Yamaha (plus hardware for same) 
Guitars & Banjos — Gibson, Fender, Alverez, Alverez Yairi, Hohner, Guild,.Ibenez, Ovation, Martin, Madeira, 
Gretsch, Pedulla, Rickenbacker, Kramer, lida, Goya, Etc. 
Amplifiers, P.A.s, — Fender, Lab, Yamaha, Acoustic, Traynor, Sunn, Bull Frog, Polytone, 
Microphones Roland, Crate, JBL, Bose, Electro Voice, Collehon, Shure, Ada, Community Light & Sound, Dimarzio, 
Cerwin Vega, Peavey, Ross, Tapco, Crown, Advanced Audio, Mutron, Furman and many others 
Keyboards — Arp, Roland, Yamaha (including the Grand), Hohner, Wurlitzer, Fender, Melodigrand, etc. 
Accessories — Hohner harmonicas, mouthpieces for all instruments. All major brands of strings, reeds, oils, 


cleaners, melodicas. You name it, we've got it! 


NUFF SAID: COME UP AND SEE US — BRING THIS AD AND AN EXTRA BONUS 
WILL BE GIVEN WITH EVERY MAJOR PURCHASE. 


934 ELM STREET - MANCHESTER, N.H. 03101 
TELEPHONE (area 603) 623-0153 


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A ST. (268-3764) 
211 A St., Boston Tu-F 11-5, Sa 12-5 
AHMED'S GALLERY (876-5200) 
96 Winthrop St. Camb. Open nightly 5-1. 
Through April 24: Etchings, Minotypes, and 
Lithographs by Lisa Fiori; Sculpture by Leyre 
Ormaeche. 
ALPHA GALLERY (536-4465) 
121 Newbury St. Tu-Sa 10-5:30. Through 
March 26: New Work by Ralph Coburn. 
ART ARK (625-9090) 
46 Holland St., Somerville M-Sa. 10-6 
Through march 29: Photographic Abstrac- 
tions by Tamara Blesh. 
ART/ASIA GALLERY (536-7575) 
8 Newbury, St., Boston, Tu-Sat. 10-5:30. 
Through March 29: “Food for Thought.” 
ARS LIBRI (536-3264) 
711 Boylston St., 5th floor M-F 9-6, Sat. 11-5. 
Rare, illustrated and scholarly books on the 
fine arts. 
BAAK GALLERY (354-0407) 
59 Church St., Camb. Tu-Sa 10-6, Th 10-8 
Through April 1: Drawings and Colages by 
Claudine Bing. 
BETSY VAN BUREN GALLERY (354-0304) 
290 Concord Ave., Camb. Tu-Sat. 10-5. 
Through March 29: Sculpture by Dan Wills. 
BILLIARD ROOM GALLERY (661-8777) 
58 A Garden St., Camb. Sat. 11-5, and by 


appt. 

BLACKSMITH HOUSE GALLERY (547-6789) 
56 Brattle St., Camb. 

BOSTON ARCHITECTURAL CENTER (536-3170) 
320 Newbury St. 

BOSTON ATHENAEUM GALLERY (277-0270) 
10% Beacon St. M-F 9-5:30 

BOSTON CENTER FOR THE ARTS (426-5000) 
539 Tremont St., Boston Tu-Sat 11-4. 
Through March 15: Drawings, Sculpture, and . 
Paintings by Joseph Wheelwright. 

BOSTON CITY HALL (725-3000 
Main Gallery, 5th floor M-F 10-4 
Through March 31: Boston Photographs by 
George M. Cushing Jr. 

BOSTON VISUAL ARTS UNION (227-3076) 
77 N. Washington St. Boston T-F 11-6 Sat. 
11-4. Through March 22: “Biack, White, and 
In-Between.” 

BROMFIELD GALLERY (426-8270) 
30 Bromfield St. M-Sat 12-6 
Through March 27: New Paintings by Jeffrey 
Simmons Hall. 

BY THE WAY 
at Goods, 11 Boylston St., Camb. 

CAMBRIDGE ART ASSOCIATION (876-0246) 
23 Garden St., Tu-Sat. 10-4 

CHILD'S GALLERY (266-1108) 
169 Newbury St. Tu-Sat 10-5. 

CHILDREN’S ART CENTRE (536-9666) 
36 Rutland St. Boston 

COPLEY SOCIETY (536-5049) 
158 Newbury St. Tues.-Sat. 10-5. 

CUTLER/STAVARDIS GALLERY (482-4151) 
354 Qpngress St., Boston. W-Sat. 12-5. 
Through April 5: Contemporary Paintings by 
Toronto Artists. 

DOLL & RICHARDS (547-0516) 
50 Church St. Camb. M-Sat. 10-6 
Through March 29: A Retrospective: Burton 
Silverman. 

EARTHLIGHT (266-8617) 
249 Newbury St. Tu-Fri 11-6, W 11-8, Sa 11- 
5. Fantasy and Science Fiction Art and Sculp- 
ture. Through March 29: Sculpture by Don 


7 Upland Rd., Cam. M-Sa. 10-6; T-Th. 10-9. 

March: Color Photographs by Sue Philips. 
FRIENDS GALLERY (547-1267) 

383 Huron Ave., Camb. Tu-Sa 10-4 
GALLERY EAST (426-1940) 

24 East St. 

Through March 14: New works by Kautz, 

Lehman, and Ross. 
GALLERY IN THE SQUARE (426-6616) 

665 Boylston St. M-Sat. 10-6, Sun. noon-6 

March 18-April 13: “Images of New Eng- 

land,” Paintings by Antonio Candelas. 
GALLERY NAGA (267-9060) 

67 Newbury St., Boston. Tu-Sat. 10-5 
GALLERY NATURE AND TEMPTATION 

40 St. Stephen St. (247-1719) “Adaptation of 

Aestheticism,” Japanese Calligraphy. 
GALLERY 355 (536-7050) 

355 Boylston St. 

Through March 28: Sculpture by Richard 

LaGasse; Paintings by Scott Hadfield. 
GOETHE INSTITUTE (262-6050) 

170 Beacon St. 

Through April 10: “Views of Greater ‘Bos- 

ton,” by Henry Altman and Maxine Sorokin. 
GRAPHICS 1 and 2 (266-2475) 

168 Newbury St. M-Sat. 9:30-5:30 

Through March 29: Prints by Sonia Delau- 


May. 
GUILD OF BOSTON ARTISTS (536-7660) 
162 Newbury St. Tu-Sat 10:30-5:30. 
HARCUS KRAKOW (262-4483) 
7 Newbury St. Tu-Sa 10-5:30 
HARRIET TUBMAN HOUSE GALLERY (536-8610) 
566 Columbus Ave. M-F 9-9 
HELEN SHLIEN GALLERY (482-9866) 
354 Congress St. W-Sa. 12-5. 
Through March 29: Recent Paintings, Draw- 
ings, and Collages by Lois Tarlow. 
HIRSHBERG GALLERY ( 
344 Boylston St. Sun. 1-5, M-F 10-2. 
IMPRESSIONS (262-0783) 
275 Dartmouth St. Tu-F 10-5:30, Sa 11-5 
Through March 27: Pastels and Gouaches by 
Bilge Friedlaender. 
KOLBO GALLERY (731-8743) 
435 Harvard St., Brookline. Su-F 10-6 
Through March 28: “Portraits of Exile,” 
Photos of Jews in the Soviet Union, by Rich- 
ard Sobol. 
THE LOFT GALLERY (482-3539) 
164 Lincoln St. 
LOPOUKINE NAYOUCH GALLERY (426-4973) 
354 Congress St. 
NEWTON ARTS CENTER (964-3424) 
61 Washington Park, Newtonville. M-F 9-5 
WIELSEN GALLERY (266-4835) 
179 Newbury St. Tu-Sat. 10-5:30. 
Through March 20: New Works by Anne- 
tdarie Cucchiara, and by gallery artists. 


Art listings 


PIANO FACTORY (536-2622) 
791 Tremont St. 
PRESTIGE GALLERY (536-9372) 
175 Newbury St. M-Sat. 10-5:30 
PRISON ART PROJECT (482-7392) 
253 Summer St., rm. 308 M-F 9-5. Through 
March 29: Photo/Clay Collage. 
PROJECT ART CENTER (491-0187) 
141 Huron Ave., Camb. M-F 9:30-5. 
Through March 22: “On the Wall,” Works by 
Local Animators; Through April 5: Photo 
Silkscreens by Jerome Higgins. 
PUCKER/SAFRAI (267-9473) 
171 Newbury St. M-Sat. 10-5:30 
Through April 7: Small Painted works by 
David Vereano. 
PUNKT/DATA GALLERY (731-8092) 
256 Hanover St., North End F-Sat. 7-11 pm 
Through April 4: “Choose Your Leader,” pro- 
paganda and original work on the presi- 
dential candidates. 
QUADRUM GALLERY (965-5555) 
The Mall at Chestnut Hill M-Sa. 10-9:30. 
ROCKWELL GALLERY (354-6827) 
69 Harvey St., Camb. W-Sun 2-5. 
ROLLY-MICHAUX (261-3883) 
290 Dartmouth St. 
Through April 4: signed Lithographic Posters 
by Marc Chagall. 
ROTENBERG GALLERY (261-3747) 
130 Newbury St., Bos. Tues.-Sat. 10-5. 
Paintings by Judi Rotenberg. 
SANS REGRET (367-1171) ' 
131 Newbury St. M-Sat 10:30-6. 
SEMIRAMIS, (661-1815) 
10 Mt. Auburn St., Camb. M-Sa 10-6, Th-F 
10-9 


Ancient Chinese scrolls, African and Eskimo 


Art. 
SIEMBAB GALLERY (262-0146) 
162 Newbury St. 
SOCIETY OF ARTS AND CRAFTS (266-1810) 
175 Newbury St., Boston Tu-Sat. 10-5. 
Through March 22: “Visions of the Future: A 
Student Show.” 
STEBBINS GALLERY (547-7639) 
Zero Church St., Camb. M-Sat. 10-6 
SUNNE SAVAGE GALLERY (536-1910) 
105 Newbury; M-Sat. 10-5 
THOMAS SEGAL GALLERY (266-3500) 
73 Newbury St. Tu-Sa 10-5:30 
Through April 9: Recent Paintings by Joseph 
Drapell. 
261 GALLERY (267-5279) 
281B Newbury St. Tu-Sa 10-5:30 
Works by Gallery Artists. 
WENNIGER GRAPHICS (536-4688) 
164 Newbury St. M-Sa 10-5:30 


BLUE HILLS TRAILSIDE MUSEUM (333-0690) 
1904 Canton Ave., Milton. 

BOSTON TEA PARTY SHIP & MUSEUM 
Congress St. Bridge (338-1773) Open daily 9- 
5, Admission $1-$1.75, under.5 free. Full- 
scale working replica of the Tea Party ship. 

BROCKTON ARTS CENTER (588-6000) 
Oak St. Tu-Sat. 1-5, Sun. 1-6. Admission is 
by donation. 

BUSCH-REISINGER MUSEUM (495-2338) 
29 Kirkland St., Camb. M-Sat. 9-4:45 
Permanent collection of German art, Scan- 
dinavian art in all media, dating from Middle 
Ages to present. 

CHILDREN’S MUSEUM (426-7336) 


300 Congress St., Museum Wharf. Open daily ' 


10-5, F till 9. Admission $3, under 16 $2, F 6- 
9 $1. City Slice; Grandparents’ House, Green 


Hall of Toys; Computers; How Movies Move; ~ 


WKID-TV; Meeting Ground. 
DANFORTH MUSEUM (620-0050 
123 Union Ave., Framingham. Wed-Sun., 1- 
4:30. Free admission. Permanent Collection; 
Roby Foundation Collection; Eadweard Muy- 
bridge Photographs. 
DECORDOVA MUSEUM (259-8355) 
Sandy Pond Rd., Lincoln; open Tues-Fri. 10- 
5, Sat. 12-5, Sun. 1:30-5. Wed 5-9:30. Ad- 
mission $1.50, under 21 50¢. 
Through March 23: Finnish Constructivism. 
DUXBURY ART COMPLEX MUSEUM (934-6610) 
189 Alden St. 
Through March 23: Juried Show of South 
Shore Artists. 
FITCHBURG ART MUSEUM (345-4207) 
’ Merriam Parkway Tu-Sa 10-5, Sun 2-5. Free 
admission. 
FOGG ART MUSEUM (495-2397) 
32 Quincy St., Cambridge M-F 9-5, Sa 10-5, 
Su 1-4 
French Drawings from a Private Collection; 
Dionysos and His Circle; David to Courbet. 
Through April 6: Morris Louis Drawings. 
GARDNER MUSEUM (566-1401) 
280 The Fenway. Authentic Venetian palace 
w/courtyard Tues. 1-9:30, Wed.-Sun. 1-5:30. 
Adults $1. Classical tunes Tues. at 8, Thurs. 
and Sun at 4. Info: 734-1359 
HAMMOND CASTLE (283-2080) 
80 Hesperus Ave., Gloucester. Recreation of 
European castle. 8, 600 pipe organ;. concerts. 
HIGGINS ARMORY (853-6015) 
100 Barber Ave., Worcester Tu-F 9-4, Sat 10- 
3 Sun 1-5. Admission 50¢-$1. Largest col- 
lection of ancient armor in the Western Hemi- 
sphere in a gothic castle setting. 
INSTITUTE OF CONTEMPORARY ART 


955 Boylston St., Bos. (266-5151) 
Tues.-Sat. 10-5, Wed: 10-9, Sun. 12-5. Ad- 
mission $1.25. 
Through April 27: Paintings by Florine Stett- 
heimer; Photographs by George Platt Lynes. 
JACKSON HOMESTEAD (552-7238) 
527 Washington St., Newton M-F 10-4 FREE. 
JOHN F. KENNEDY LIBRARY (929-4500) 
Columbia Point, Dorchester. Daily 9-5. Ad- 
mission 75¢. Permanent collection of 
memorabilia from the life of JFK. 
MUSEUM OF AFRO-AMERICAN HISTORY (445-7400 
or 267-4160) 
719 Tremont St., South End. 
MUSEUM OF THE AMERICAN CHINA TRADE (606 
1815) 
215 Adams St., Milton. Tu-Sat. 1-4, closed 
holidays. Admission $1.50-$3. 


“Cathedrals of Art,”’ 1942, at the ICA 


Florine Stettheimer’s 
Permanent Collection. Through March 15: 


. I'hsing wares. 


MUSEUM OF FINE ARTS (267-9300) 
479 Huntington Ave. W-Su: 10-5, Tu: till 9, 
closed M. Admission: $1.75; Su. $1.25; free 
Tu. 5-9. Photographs from the Collection; 
American Watercolors; 20 c. Drawings and 
Watercolors; Prints and Illustrations by Ed- 
ward Hopper; Metals, Ceramics, and Stained 
Glass; Art in Animation. 

MUSEUM OF FINE ARTS AT FANEUIL HALL 
South Market Building. Tu-Sa. 11-7, Su..11- 
5. FREE. Faces of Five Thousand Years; On 
Angels’ Wings. 

MUSEUM OF OUR NATIONAL HERITAGE 
33 Marrett Rd., Lexington (861-6563). M-Sa. 
10-5, Sun. noon to §:30. FREE. 19th c. Folk 
Art; Linen-Making; Highlights from the Mu- 
seum Collection; American-made Dolls. 

MUSEUM OF SCIENCE (723-2500) 
Science Park, M-Th 9-4, F 9-10, Sa 9-5, Sun 
10-5. Admission $2-$3, F 5-10 pm $1-$2. By 
Jove; The Stars Tonight; Probability Ma- 
chine. 

MUSEUM OF TRANSPORTATION (426-6633) 
300 Congress St.. Museum Wharf, Daily 10- 
5, F 10-9, Admission $3, under.16 $2, F 6-9 
$1. Through March 1: Victorian Costumes. 

ou April 27: The Circus Comes To 

own. 

WEW ENGLAND AQUARIUM (742-8870) 
Central Wharf, Atlantic Ave.; M-T 9-5, F 9-9, 
S-S and holidays 9-6. Admission $4, chil- 
dren $2.25. F 4:30-9. $2.50. Over 2000 aqua- 
tic creatures. Dolphin and sea lion perform- 
ances aboard floating amphitheater next to 
Aquarium. 


- OLD STATE HOUSE MUSEUM (523-1825) 


206 Washington St. M-F. 10-4, Sat. 9:30-5, 
Sun. 11-5. Adults 75¢, kids 25¢. 
Permanent exhibition: Boston artifacts from 
1630-1872. 
OLD STURBRIDGE VILLAGE (347-3362) 
Mass Pike to Sturbridge exit. Historical Vil- 
lage from the early 19 c. brought to life. 
PAUL REVERE HOUSE (523-1676) 
19 North Sq., North End. Daily 10-6. Admis- 
sion 75¢. Owned by the night-rider from 1770 
to 1800. Only surviving home of 17 c. Boston. 
PEABODY MUSEUM (745-1876) 
East India Sq., Salem M-Sa 10-5, Sun and 
holidays 1-5. Admission $1.50, under 16 
75¢. Permanent collection: Maritime History, 
Ethnology, and Natural History. Also: 
America and the China Trade; Ethiopia; 
Sculpture by Seamans; Steamship Posters. 
USS CONSTITUTION (247-9078). 
Boston Naval Ship Yard, Charlestown. FREE. 
WORCESTER ART MUSEUM (799-4406) 
56 Sulisbury St., Worcester. Tu-Sa 10-5; Su 
2-5. Admission $1, children 50¢, free Wed. 
Contemporary Prints; Beauties of the 
Pleasure Quarter; Art of the State: Photog- 
raphy 1978-1979. 


PHOTOGRAPHY 


BORIS GALLERY (261-1152) 
35 Lansdowne St. Boston. 
Through March 7: Color Photographs by 
Graeme Outerbridge. 
CAMBRIDGE PHOTO CO-OP (354-8299) 
188 Prospect St., Mon-Fri. 7-10. 
THE DARK ROOM (354-5313) 
620 Mass. Ave., Camb. M-Sa. 10-10. 
KENNEDY GALLERY (577-5177) 
770 Main St., Camb. W-F 11:30-5 
Thfough March 14: 8x10 Images from Japan 
by Sachiko Kuro and Tuneo Enari. 
KIVA GALLERY (266-9160) 
231 Newbury St. T-F 11-6. 
Through April 26: Photos by Robert Frank. 
NE SCHOOL OF PHOTOGRAPHY (261-1868) 
537 Comm. Ave. 
Through March 21: Photographs by Kalman 
Zabarsky. 
PHOTOWORKS (267-1138) 


755 Boylston St., (M-F, 9-5:30). 
PLASTIC IMAGE GALLERY (482-1214) 
16 Thayer St., Boston M-F 11-4 
ROSE GALLERY (167-1758) 
216 Newbury St. Tu-Sat. 11-5:30 
SYNERGISM (536-1633) 
249 Newbury St. Tu-Sa 11-6 
B & W Vintage Collection by Roydon Burke. 
VISION GALLERY (266-9481) 
216 Newbury St. Tu-Sa 11-5:30. 
Through March 29: Recent Photographs by 
Lee Friedlander. 
VOICES GALLERY 


220 North St., N. End. 


SCHOOLS AND 
UNIVERSITIES 


ART INSTITUTE OF BOSTON(262-1223) 
Gallery East. 700 Beacon St. 
Gallery West, 708 Beacon St. 
BOSTON UNIVERSITY 
Art Gallery, 855 Comm. Ave. 
Through March 23: Bronze Sculpture by 
Harold Tovish. . 
Mugar Library, Odrhim. Ave. 
Sherman Union Gallery, 775 Comm. Ave. 
BRANDEIS U., Waltham 
Rese Art Museum, 414 South St., Waltham 
Through March 30: The Art of Hung Hsien; 
Jewish Ceremonial Objects. 
UNIVERSITY, WORCESTEA 


Little Center Gallery 
Through March 19: Ireland Photographs by 
Ron Rosenstock. 
ELMA LEWIS SCHOOL 
122 Elm Hill Ave., Roxbury 
HARVARD UNIVERSITY 
Carpenter Center, 29 Prescott St. 
Through March 14. 
"flatlands and Related Material,” photos by 
Langdon Clay. 


Baker Library : 
Through March 19: “Cotuit Skies,” by Yvette 
Bouchard. 


Peabody Museum 
Through May: China’s Inner Asian Frontier. 
Museum of Zoology, 24 Oxford St. 
Through April 30: Frog Fotos from Ecuador 
by Kenneth |. Miyata. 
MASS COLLEGE OF ART 
Overland Gallery, 28 Overland St. 
Through March 31: “College Posters.” 
Longwood Gallery, 364 Brookline Ave. 
Thompson , 364 Brookline Ave. 
Through March 13: Student Exhibit. 
M.LT. 


Hayden Gallery, 160 Memorial Dr. 

Through March 16: “Arts on the Line: Art for 

Public Transit Spaces.” 

Creative Photography Gallery 

Through April 2: William Clift/Emmet Gowin. 
MONTSERRAT SCHOOL OF VISUAL ARTS 


Beverly 
Montserrat Gallery, Dunham Rd. 
Through March 28: Paintings and Drawings 
by Ashley Thompson, Stephen Rawls, and 
Thorpe Feidt. 
MUSEUM SCHOOL 
230 the Fenway 
Through March 29: Sculpture by Students. 
NORTHEASTERN 
Dodge Library. 
Through March 28: “Transitions” by Joyce 
Bezdek. 
AAMARP Visual Arts Complex, 11 Leon St. 
Through March 14: Works by Calvin Burnett. 
UMASS BOSTON 
Harbor Gallery. (287-1900, ext. 2747) 
Through March 31: New Works by Women 
Exhibiting in Boston (WEB). 
Community Arts Gallery, 250 Stuart St. 


- Through March 31: Closed for repairs. 


WELLESLEY COLLEGE 
Jewett Arts Center (235-0320, ext. 314) 
Through April 6: American Portraits and 

. Landscapes from the Collection. 


CLUBS 


186 Harvard Ave. 
Allston, Mass. 254-9804 


Mon. & Tues., Mar. 10 & 11 
THEM FARGO BROS. 


Tues., Mar. 11 
Pool Tournament 
8:30 pm 


Wed., Mar. 12 
DR. GRABO 


Thurs., Mar. 13 
ROXX 


Fri. & Sat., Mar. 14 & 15 
THE RUBIES 


Sunday afternoon Chance Langton 
Talent Search 4-8 


POSITIVE REQUIRED 


Entertainment Nightly. 
Giant Happy Hour, Fridays 4 to 07 


March 9, 16, 23 
Every Sunday 
THE FRANK SHOOSHAN 
17 PIECE BAND 
playing music from 30’s to present. 
Tix $2.00 at door 4 


Mon., March 10 


LEGENDARY BLUES BAND 
i.e. Muddy Waters backup band 
featuri 
BRIAN BISESI 
CALVIN JONES 
PINETOP PERKINS 
FERRY PORTNOY 
WILLY SMITH 
1st show 9:00 


Tues., Mar. 11 


THE RINGS 


Wed., March 12 
FLORESTA 
with special guest 
STAN STRICKLAND 
& PHIL WILSON 


Thurs., Mar. 13 


uests 


special 
gr BHOOR. AND 


7:30 & 10:30 
Adv. Sale 


Fri., Mar. 14 
RIZZZ 


Sat., Mar. 15 
MEMPHIS ROCKABILLY BAND 


also 
TRAVIS-SHOOK BAND 


Mon., Mar. 17 
Sk Patrjck’s Day Party 
with 
BEAVER BROWN 


Tues., Mar. 18 


Wed.., Mar. 19 
STORMIN’ 
‘NORMAN & SUZY 


Thurs.-Sat., Mar. 20-22 
ALLEN ESTES BAND 


Mar. 24 
Adv. Tix nowon sale 
KINGSTON TRIO 


Tues., March 25 
ALBERT COLLINS 


Adv. sale 


3, Wed., March 26 


ESTHER SATTERFIELD 


Adv. sale 


Mon. March 31 
Back By Popular Demand 
Rolling Stones 
Live at L.A. Forum 
1975 
plus The Doors, Jimi Hendrix, Bob 
Dylan & More 


Tickets for.all “concert” events aiso 
available at Boston Music at Berklee, 
Elsie’s & 


Ticketron, Out of Town, 
Concert Charge 426-8181 


ASSP CRESS AL 


ee 


‘Lt HOUWW NOILOAS ‘XINJOHd NOLSOG 


iy 
a 
‘ 
| 
| 
1 


34 


CLUBS 


Thurs. & Fri., March 13 & 14 
MIDNIGHT TRAVELER 


Sat., March 15 
MARK DANA BAND 


Leslie Palmiter. 
Listen to “Rock On The Radio" « “Too Young To Die” 
on WBCN & WCOZ For Booking info: 617-263-7576 


0.0.0. 


r 


UPSTAIRS 
Thurs., Mar. 13 
BARBARA LONDON 
JOHN HUNTER 


MATT TALBOT’ 


corner of Berkeley 
& Chandler Streets 


THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


Fri. & Sat., Mar..14 & 15 Boston 338-9089 
BELLVISTA Still Crazy After All These Years 
Mon. & Tues. Mar. 10 & 11 
DOWNSTAIRS CHRIS COLLINS 
Sun. & Mon., Mar. 9 & 10 “ 9 
DAVE JACKSON QUARTET COMEDY TONIGHT 
with PAM BRICKER - Sun. Wed. Mar. 12 
with STAN STRICKLAND DONNA 
on. 
Tues, & Wed. Mar. 11 & 12 DeCHRISTOPHER 
Thurs., Fri., Sat., Mar. 13, 14 & 15 Fri. & Sat. Mar. 14 & 15 
LEE ADLER/HERMAN DOWN YONDER 


We’re celebrating 

St. Patrick’s Day 

all weekend Iong!! 
MUSIC & MADNESS NIGHTLY 


CAFE BAR 876-9330 


4NMAN SQUARE, CAM BRIDGE 


Mon. & Tues., March 
Cl [ JB 10 & 

JIM BRUNDIGE 
QUARTET 
Wed. & Thurs., 
March 12 & 13 
BUDDY AQUILINA & 
THE BOSTON JAZZ 
CONSPIRACY 
Fri. & Sat., March 14 

369 & 15 

Cambridge St. | JACKIE BEARD 

ENSEMBLE 

491-9625 


111 Thorndike St., Lowell, Ma. 


459-3097 
18 y. o. welcome. Positive proof 
ot age to purchase alcohol. 


Wed., Mar. 12 


24 KARAT 


25¢ DRAFTS 
50¢ VODKA DRINKS 


Thurs., Mar. 13 


e @e LIVE BANDSARE BACK 
Wed.-Sunday 


Brookline Ave | 
at Fenway Park 


at SAMMY WHITES 
1600 Soldiers Field Rd. 


Fri., Sat., Sun. Tues. Wed., Thurs. 
GREAT PRETENDERS LITTLE WALTER Oldies Night 


Beer Blast Night 
_MESSENGER 


with 


Jteadliners 
orth 


379 Somerville Ave. 
Somerville (off Union Sq.) 


(603) 889 6644 
Railroad Square Nashua. 
Only 40 minutes trom Boston — 


Take exit 7E cH Route 3 Sun. Mar. 9 


Next to Chart House Restaurant 


2 
Fri., Mar. 14 
& 
© 
€ 
& 


' Sat., Mar. 15 Wed. March 12 LOU MIAMI & THE 
RAMONES THE STOMPERS a 
Thurs.-Sat., March 13-15 
the blend Fri., Mar. 14 
Tues., March 18 
Comi 
& March to THE RPM’S 
4 “THE CAST” 
ra former members of Broadway's with 
Beatlemania. 
<= aa ze Sat. & Sun., Mar. 15 & 16 
urs. March 20 
RIZZZ THE 
: Fri. & Sat., March 21 & 22 
All Tix 6.50 @ BILL CHINNOCK Thurs. & Fri., Mar. 20 & 21 
Sun., Mar. 16 & 


UNNATURAL AXE 
; Sat. & Sun., Mar, 22 & 23 
THE ATLANTICS 
Open Wed.-Sun 625-4975 


March 23 
BAND 
JONATHAN EDWARDS 
ADV. SALES 


SOUTHERN ROCK NIGHT 
99¢ SOUTHERN COMFORT 
& JACK DANIEL DRINKS 


Thurs., Mar. 20 
Beer Blast Night 
GLASS MOUNTAIN 
25¢ DRAFTS, 
50¢ VODKA DRINKS 


Fri., Mar. 21 
GREAT ESTATE 


Sat., Mar. 22 


Watch for grand opening 


of.Mr Cs 
Annex in Lawrence. MA 


Monday, March 17 


Join us at Scandals to celebrate St. 
Patrick’s Day. Our gala evening full 
0’ blarney, favors, Irish jig contest, 
prizes & more. 

So join us as we paint the evening 
green. 


Big Band Sound 


at Happy Hour 
Monday-Friday 


AMA 


Hot Hors d’oeuvres 


_25 Wm. McClellan Hwy. E. Boston, MA 


and 


Listings 


All listings on the next few pages are free. If 
you want your message to reach millions, have 
all the details in by the Monday two weeks in 
advance of your event. Send notices of local 
cosmic events to Listings Editor, Boston Phoe- 
nix, 100 Mass. Ave., Beantown 02115 All copy 
subject to our revision. 


ID 


PHONE NUMBERS 
EMERGENCIES 


BOSTON POLICE: 911 

BROOKLIND POLICE: 734-1212 
CAMBRIDGE POLICE: 911. 
SOMERVILLE POLICE: 625-1212 
STATE POLICE: 566-4500, 782-2335 
BOSTON FIRE: 536-1500 

BROOKLINE FIRE: 232-4646 
CAMBRIDGE FIRE: 876-5800 
SOMERVILLE FIRE: 623-1500 


MEDICAL EMERGENCIES 


BOSTON-BROOKLINE: Call 911. 

POISON: Information Center, 232-2120 

SUICIDE: Samaritans 247-0220 

CAMBRIDGE AMBULANCE: 868-3400 

CAMBRIDGE CITY HOSPITAL: 354-2020 

MASS. GENERAL HOSPITAL: 726-2000 

MASS. EYE & EAR: 523-7900 

BOSTON CITY HOSPITAL: 484-5000 

BETH ISRAEL HOSPITAL: 735-3337 

PETER BENT BRIGHAM HOSPITAL: 732-5636 

POISON INFORMATION CENTER: 232-2120 

RAPE CRISIS CDNTER, 24-hour hotline: 492- 
RAPE. Immediate and continding support, 
medical and legal info, referrals. Closed Oct. 
9 - Jan. 1. 

RAPE CRISIS HOTLINE serving Greater Lynn and 
North Shore. Call 595-RAPE for immediate 
and continuing support, medical and legal in- 
formation. 

ELIZABETH'S HOSPITAL: 782-7000 


HOT LINES 


REPLACE, Lexington, 862-8130. Hotline crisis 
intervention center. 

PLACE, 32 Rutland St., South End, 
Boston. 267-9150. 

SURVIVAL (471-7100). Open 24 hours, 7 days a 
week. Serves entire Norfolk County. South 
Shore area. 

PULSE (762-5144) in Norwood. Trained coun- 
selors to help with alcohol, drug, personal 
problemf. 

SAMARITANS, to befriend the despairing and 
suicidal, 24 hours, 7 days. 247-0220. 

CODE HOTLINE 486-3130, crisis counseling, info, 
referrals. Call M-F 9 am-11 pm, weekends 7 
pm-ll pm. 

PROJECT FRIEND, Marshfield, 834-6563. 24 hrs. 
Information, referral, crisis intervention. 

PUOSTO. Bridgewater, 697-8111. 24hr informa- 
tion and referral. 

WOBURN WORKSHOP HOTLINE (933-3336) 4-10 
pm, Mon-Fri. Information, referrals, counsel- 
ing and crisis intervention. 

OPERATION VENUS (774-7492 or 1-800-272- 
2577) Venereal disease info and help. 

CHILD-AT-RISK, child abuse help 24 hrs, 1-800-. 
792-5200. 

PARENTS ANONYMOUS (1-800-882-1250). 

CANCER INFORMATION SERVICE, 9-4:30 M-F, 1- 
800-952-7420. 

STATE ENERGY PHONE (1-800-922-8265). 

PARENTAL STRESS (1-800-632-8188). 


ALCOHOL and DRUGS 


ALCOHOLISM CLINIC of Dimock Community 
Health Clinic provides free individual and 
group counseling, alcoholism education, 
family services, and referral to detox, 
halfway house, etc. 55 Dimock St. in Roxbury 
= weekdays 9 to 7, 442-8800, x201, 202 or 


WASHINGTONIAN CENTER for Addictions offers in- 
patient and outpatient programs for those 
hooked on alcohol, barbiturates or opiates. 
Medical and psychiatric counseling, detox- 
ification services, rehabilitation, job finding. 
41 Morton Street in Boston, 522-7151. 

BOSTON COUNCIL ON ALCOHOLISM, 250 Boylston 
St., Boston, 267-7334. Educational programs 
for community groups. Call Mon-Fri 8:30- 

4:30. 


Te SALVATION ARMY Harbor Light Center (536- 
7469) 407 Shawmut Ave., Boston. Provides 
free overnight lodging for homeless men and 
women; halfway house for alcoholics. Free 
Clothing, food, job referral and counseling. 
Open 24 hrs. 

ALCOHOLISM SERVICE at Peter Bent Brigham Hos- 
pital: outpatient treatment, individual and 


group therapy 732-6022. 
WORTH SUFFOLK 427 


ALCOHOLISM SERVICES, 
Broadway, Chelsea (884-8154), 22 Tewks- 
bury, Winthrop (846-9551). Weekdays 8:30- 
4:30, eves. by appt. 
OPERATION MATT information and referral ser- 


208 


me 


vice for teenagers affected by alcohol. Phone 
1-800-272-2586, 8:30 a.m. - 10 p.m. daily. 

APPLETON TREATMENT CENTER FOR ALCOHOLISM 
115 Mill St. Belmont (855-2781). Offers in- 
patient and aftercare servicds. 

CAMBRIDGE-SOMERVILLE PROGRAM (354-2020, 
ext.. 532) Camb. Hospital, 1493 combridge 
St. Emergency walkin service; groups and 
referral; for Alcoholics and their families. 

SUBSTANCE ABUSE TREATMENT PROGRAM 252 
Tremont St. (956-5906) provides an 
educational series about and for addicts and 
alcoholics. 


_ AL-ANON (834-5300) 460 Wasington St., Brain- 


tree. Help and support for families of 
alcoholics. 

PROJECT PLACE (267-9150), Drug info and iden- 
tification, help w/bad trips, overdose, etc. 
DRUG ADDICTION Rehabilitation Center (436- 
6000, ext. 138), Boston State Hosp., 591 
Morton St., Dorchester. A therapeutic com- 
munity offering inpatient, and resident 
programs, related services. Open to 

everyone. 

ALCHOHOLISM INFO REFERRAL (524-7884) referral 
phone service. 

FIRST, 167 Centre St., Roxbury (427-1588) 
offers help and counselling for drug related 
problems. 

NEW ENGLAND MEDICAL CENTER, offers treatment 
for drug dependent individuals. Services in- 
Clude information and referral, psychological 
and physical examination, individual and 
group therapy and an After Care program. 

- Call 956-5907 or drop by 252 Tremont St., 
Boston. 

MIDDLESEX EAST, 41 Sharon St., Waltham (894- 
5570) provides drug abuse outpatient ser- 
vices for the communities of Waltham, 
Weston, Watertown and Belmont. 


ENVIRONMENT 


CLAMSHELL COALITION (661-6204) 595 
Mass. Ave., Camb. Anti-nuclear power group 
holds meetings each 1st and 3rd WED of the 
month. WED, Mar. 12 and Mar. 26: Orienta- 
tion session for May 24, occupation/block- 
ade at 7:30 at Clam office. TH, Mar. 13 and 
Mar. 20: Preperation sessions at Clam office. 

CAMPAIGN FOR SAFE ENERGY (423-1901) 120 
Boylston St., Boston. Purpose: to confront the 
presidential candidates with the issue of 
nuclear power. Volunteers needed for 
organizing throughout NE and for office work 
in Boston. 

APRIL 26 COALITION FOR A NON-NUCLEAR WORLD is 
organizing a massive march. on Washington 
April 26-27. Meet TUES from 7 to 8:30 pm at 
the MOBE office, 13 Sellers St., Camb. 

SIERRA CLUB (227-5339) 3 Joy St., Local branch 
of the oldest environmental protection org., 
with literature, info, committees on a variety 
of eco-issues. Volunteers, participants 
welcome. Open 9:30-3 weekdays. 

FUND FOR ANIMALS (964-0721) 137 Walnut St. 
Newton is an active international organiza- 
tion working on all humane and conservation 
issues concerning animals. Lit and slide lex 
available. 

NURSES FOR A NON-NUCLEAR FUTURE, Box 454, 
Brookline, MA 02146. 

GREENPEACE (542-7052) 286 Congress St. Ac- 
tivist environmental group involved with en- 
ding the world’s whaling industry and stop- 
ping harp seal slaughter. Film presentations 
available, volunteers always needed. Spring 
whale-watching trips from Provincetown Har- 


bor. 

ZERO POPULATION GROWTH (742-6840) 14 Bea- 
con St. Environmental group seeking to 
change attitudes and practices that lead to 
— growth. Stop by or call, weekdays 


vant SOLAR ENERGY ASSOC. (USEA) c/o Brandt, 
21 Burnside Ave., Somerville 02144 (628- 
5558). For anyone ‘interested in solar energy, 
renewable resources, and conservation in the 
city. Monthly newsletter, informational 
meetings, workshops and barn-raisings. 

NEW ENGLAND COASTAL POWER SHOW, 40'2 Kin- 
naird St., Camb., 02139. Traveling energy 
show presents workshops on problems and 
solutions, has various working solar models, 
posters, literature. Volunteers needed. 

HABITAT (489-3850) 10 Juniper Rd., Belmont, is 
an institute seeking to increase environmen- 
tal awareness and action. 

ECOLOGICA (367-1880) 7 Commercial Wharf 
West, Boston. Non-profit, tax exempt “United 
Fund" for grassroots safe-energy and en- 
vironmental groups with a thrust towards 
fighting nuclear power. 

EPIC (523-0376) 3 Joy St., Boston. Energy Pol- 
icy Information Center, promoting an energy 
future based on conservation and the ef- 
ficient use of renewable energy sources. EPIC 
opposes synthetic fuel development, mining 
and burning of coal, and nuclear power. 
Speaker's bureau, lobbying, info resource. 

NEW ALCHEMY INSTITUTE is researching basic 
human support systems — food, energy, 
shelter. For info, write to 237 Hatchville Rd., 
E. Falmouth, MA 02536. 


GAY LIBERATION 


LESBIAN AND GAY HOTLINE: 426-9371 M-F 6 pm- 
midnight. 

HOMOPHILE COMMUNITY HEALTH SERVICE, 80 
Boylston St., Boston (542-5188). Counseling 
and py nth a mental health clinic for gay 


men and wo 
(354-0133) P.0. Box 


GAY SPEAKERS’ BUREAU 
2232, Boston 02107. 

DAUGHTERS OF BILITIS (661-3633) 1151 Massm 
Ave., Camb. Organization for gay and bisex- 
ual women. Discussions each Tues. at 8 and 
each Thurs. at 7:30 p.m. except 2nd of each 
month. 


DEADLINE 18 MONDAY 
at Ryles 
Sun., March 9 
ENSEMBLE 
= 
Kinp’s 
| Row 
; Jasper s 
a 
& é 
=~ 
& | 


AK 


-f 


BAGALS (Boston Area Gay and Lesbian School- 
workers) PO Box 178, Astor Station, Boston 
02123. Write for info. 

MASS GAYS POLITICAL CAUCUS (242-3544) 295 
Franklin St., Boston. Statewide gay political 
lobby. 

CLEARSPACE, 104 Charles St., Box 119, Boston 
02114. Meet second Tues of each month at 
Arlington St. Church, 355 Boylston St., 
Boston. 

LAGMA (Lesbian and Gay Media Advocates) 
works on media coverage of gay issues (367- 


9000). 

GAY PROFESSIONAL WOMEN'S ASSOC. Box 308, 
Boston U. Station, Boston 02215. 

GLAD (Gay and Lesbian Advocates and De- 
fenders) 2 Park Sq., Bston (426-1350) Gay 
civil liberties cases. No fee. 

FRENZ & LUVVERS offers newsletter, social 
events, pot-luck dinner and discussion 2nd 
FRI each month, write to PO Box 814, Boston 
02123. boston Chapter pot-luck and Social: 
FRI, Mar. 14. 

GAY NURSES ALLIANCE/EAST (GNA/EAST) PO Box 
673, Randolph, MA 02368. National organi- 
zation for gay health care workers. 

PARENTS OF GAYS (days, 542-5188, eves. 426- 
9371) Support group for family and friends of 


gays. 

LESBIAN AND GAY PARENTS PROJECT (492-2655) 
Resource center, counseling and referral. 
Lunch third SUN each month. Call for info. 


HEALTH 


BLUE SHIELD CUSTOMERS ALLIANCE (739-5063) 
99 Revere St., Hull. Call for help with 
problems with Blue Cross-Blue Shield. 

AMERICAN ASSOC. OF DENTAL VICTIMS (AADV) 
Box 215, Sharon, MA 02067. Local chapter of 
national org. for people with complaints 
against their dentist (when writing, send self- 
addressed stamped envelope). 

SOUTHERN JAMAICA PLAIN HEALTH CENTER, 687 
Centre St., 522-5900. Referral, medical care 
for infants and children, gynecological ex- 
ams, family planning consultation and treat- 
ment for women. Adult physical and mental 
health services, blood pressure screenings. 

JOESEPH M. SMITH COMMUNITY HEALTH CENTER 
(783-0500) 51 Stadium Way, Allston. Com- 
prehensive medical and dental center for all. 
Sliding scale fee. Call for appt. 

FENWAY COMMUNITY (267-7573) 16 Haviland 
St., Bosddton. GP, GYN, mental health, pe- 
diatrics, gay health. M, W 6:30-8: gay health 
sessions, T 6:30-8: Women. 

MASS. MENTAL HEALTH CENTER (734-1300) 74 
Fenwood Rd., Boston. For all people who live 
or work in Brookline, Brighton, Allston, and 
Jamaica Plain. Volunteers are needed. 

OPERATION VENUS is a referral and info service 
for venereal disease. Free and confidential. 
Phone 1-800-272-2577. 

OCCUPATIONAL HEALTH CLINIC examines work- 
related illnesses at Norfolk County Hospital. 
For info and appt. call 843-0690, ask for out- 
dept. 

BRIDGE OVER TROUBLED WATERS operates-a Free 


“" Medical Van staffed by doctors, nurses and a 


$treet worker. The Van makes evening stops 


™4 ‘at spots in Boston, Camb. For info call 227- 


7114, 523-6649. 


“O”'BOSTON EVENING MEDICAL CLINIC, 314 Comm. 


Ave., Boston (267-7171). Admits MON- 
THURS 5:30-8:30, SAT 10-12:30. Appt. ad- 
visable, walk-ins accepted when possible. 
General medical, and many specialty clinics. 
Medicare, Medicaid accepted when 
applicable. 

HEALTH CARE POLICY COUNCIL, 11 Inman St., 
Cambridge (868-2900). Consumer advisory 
board to the Cambridge Neighborhood Health 
Clinic Program offers consumers an oppor- 
tunity to have a say in the policies affecting 
their health care. Also info on services and 
fees of neighborhood clinics. 

WATERTOWN HEALTH CENTER, 85 Main St. (923- 
0001). Adolescent, adult and pediatric ses- 
sions days M-F. Continuity of care by staff 
physicians and nurses. 

7DIALYSIS ASSOC. (235- 
3971). 721 Huntington Ave., Boston. Non- 
profit, all-volunteer organization for patients 
and families. 


LEGAL 


CIVIL LIBERTIES UNION OF MASSACHUSETTS, 68 
Devonshire St. Boston (742-8020). Helps with 
defense of all Bill of Rights freedoms. 

WATIONAL LAWYERS GUILD, (524-5415) 120 Boyl- 
ston St., Boston. Consultation and referral. 

DEFENDERS COMMITTEE provides free 
high-quality, comprehensive legal services to 
indigent persons with criminal cases in Rox- 
bury, Dorchester and Suffolk Superior Courts. 
Open M-F, 9-5, 126 Warren St., Roxbury. Call 

- 445-5640, 24 hours a day. 

ASSOCIATION OF NEIGHBORHOOD LAW CLINICS 
(482-6761) 120 Boylston St., Boston. Free le- 
gal services (on civil cases only) to indigent 

~ clients in Metro Boston. 


~~ SMALL CLAIMS COURT Advisory Service — con- 


sumer, landlord, and other ripoffs up to $400 
can be taken to SCC without a lawyer. Call 


427-8782. 

MASS. PIRG. orgie Small claims courts ad- 
visory serv’ 

INDIGENT SUVELES (367-2880) aged 7-17 who 
are charged with crimes may receive free 
legal aid from Juvenile Court Advocacy 
Program. 

NORML (227-0082) working for the decriminal- 
ization of everyone's favorite herb, mariju- 
ana. Volunteers needed. 

FAMILY LEGAL ASSISTANCE is provided at the 
Kennedy Center, 27 Winthrop St., 
Charlestown (241-8866). Mon-Fri., 11-5. 

CAMBRIDGE TENANTS ORGANIZING COMMITTEE. 
595 Mass. Ave., Camb. Rms 201-202. Open 
10-5 354-2064. Housing Clinics Thurs. 7-9. 

LANDLORD TENANT PROBLEMS? Mass. Bar Assoc. 
Court Lawyer Referral Program provides legal 
assistance for middle and lower-middie in- 
come persons with Boston housing problems. 
Minimal fees. One Center Plaza, Gov't Center. 
523-4529. Open M-F 

ALLIANCE OF CAMBRIGE TENANTS, (825-6700) M- 
F- 8-8 Sat. 9-3. Information and help on Con- 
dominiumization. 

BACK BAY/BEACON HILL TENANTS’ UNION (266- 


9284) PO Box 86, Astor Station, Boston 
02123. Housing Clinics (for tenants with 
questions and problems about rent control, 
condo conversion, etc.) are offered WED, 
Mar. 11; MON, Mar. 24; THURS, April 10; at 
7:30 pm at the Church of the Covenant, 67 
Newbury St., Boston. 


BOSTON MEN'S CENTER (776-9660 or 776-7458) 
Campus Free College, 14 Beacon St., Boston. 
Consciousness-ralsing groups and support. 

EMERGE (267-7690) 25 Huntington Ave., No. 
206. Groups (and individual work) for men 
who batter. 

M.A.N. FOR E.R.A. (776-9660) For men inter- 
ested in starting a Boston chapter in this 
already existing national organization. 

WATERTOWN MEN'S CENTER (926-3600) 465 
Arsenal St. Consciousness-raising groups, 
individual, work-related, Viet vets, and 
workshops. FREE. 

WEW ENGLAND MALE REPRODUCTIVE CENTER (247- 
6632) at the Doctors Office Building of 
University Hospital (BU), 720 Harrison Ave., 
Boston. Devoted solely to the treatment of 
male infertility and impotence. 

MEN'S CENTER (599-5918). PO 

* Box 344, Beverly, MA 01915. Workshops, 
discussions and more. 

MEN'S RIGHTS, INC. (547-5054) 402 Rindge 
Ave., Camb. Concerned with sexism and 
men’s rights. 


POLITICS 


MOBILIZATION FOR SURVIVAL (354-0008) 13 
Sellers St., Camb. Local & national coalition 
advocating zero nuclear weapons; ban nu- 
Clear power; stop the arms race, and meet 
human needs. General meetings 1st THURS of 
each month .at 7:30 pm. Potluck Supper 6:30 
pm. Volunteers needed. Mar 29: Three Mile 
Island Anniversary Rally at noon on the Bos- 
ton Common. 

AMERICANS FOR DEMOCRATIC ACTION (742-1720) 
68 Devonshire St., Boston. Working for wom- 
en's rights, economic justice and the Draft 
Kennedy movement. 

AMERICAN FRIENDS SERVICE COMMITTEE at (661- 

’ 6130) 2161 Mass. Ave., Camb. Social change 
organization. 

BROWN FOR PRESIDENT (973-4500) 89 State St. 
Volunteers needed. 

CARTER FOR PRESIDENT (973-4550) 53 State St., 
rm. 910. Volunteers needed. 

KENNEDY FOR PRESIDENT (973-4200) 53 State 
St., rm. 845. Volunteers needed. 

CLARK FOR PRESIDENT (536-5217) 739 Boylston 
St., rm. 214. Volunteers needed to get this 
Libertarian Party candidate on the Mass. 
ballot. 

WEW ENGLAND WAR TAX RESISTANCE, Box 174 
MIT Branch PO Cambridge 02139. Phone 
731-6139. An alternative fund for refused 
federal taxes. Ongoing projects related to tax- 
es and militarism, support and counseling for 
tax refusers. 

SCIENCE FOR THE PEOPLE, (547-0370) 897 Main 
St., Camb. Actions building a critique of pre- 
sent uses of science (in war, psychosurgery, 
alternative energy, computers, etc.), science 
cm” Study group and a women’s study 


crPAX (426-3040) 35 Kingston St. Citizens for 
Participation in Political Action is working on 
disarmament, military budget cuts, social 
justice; affirmative action; welfare rights; tax 
reform; voting rights and support for pro- 
gressive candidates. 

MASS. FAIR SHARE (266-7505) 304 Boylston St., 
2nd floor, Boston. State-wide citizens action 
organization. 

COMMON CAUSE, a national citizens lobbying 
organization. Statehouse lobbying, research, 
73 Tremont St., Rm. 345. Phone 523-8200. 

SOUTHERN AFRICA AID AND DEFENSE FUND, PO Box 
17, Cambridge 02139 (495-4940). Raises 
funds for political prisoners in S. Africa and 
dispenses information on the situation there. 

BOSTON ALLIANCE AGAINST REGISTRATION AND 
THE DRAFT (491-4694) 11 Garden St., Camb. 
Weekly meetings: TH at 7:30 pm. 

COMMITTEE FOR GRAND JURY REFORM, 120 
Boylston St., Rm. 414, Boston MA 02116 
(482-7399). Working to end abuse of grand 
juries by law enforcement agencies. 

BOSTON INFANT FORMULA ACTION COALITION 
(INFACT), 11 Garden St. Camb. (491-5314). 
Organizers of Nestles boycott meets every 1st 
and 3rd TUES of each month at 7:30 pm. 

SOCIALIST PARTY OF MASS. (661-1143) PO Box 
774, Camb. 02139. Building a movement for 
democratic socialism in electoral, labor, and 
community sectors. 

UNITED FARM WORKERS (542-4548), 120 Boyi- 
ston St., rm. 311. Call for info on UFW 
strikes. 

WORLD SOCIALIST PARTY (535-2510) 295 Hun- 
tington Ave. Boston. Discussion group meets 
every SUN at 10 am. 

INDUSTRIAL WORKERS OF THE WORLD (IWW) eves 
787-4237, PO Box 454, Camb. 02139. 
Revolutionary, industrial union does orgjniz- 
ing, strike support; publishes newsletter. 
Meet first FRI of each month (call for 
location). 

TIC SOCIALIST ORGANIZING COMMITTEE 
(DSC) (426-9026) 120 Tremont St., Boston, 
rm. 305. TH, March 13: John McAward talks 
about political development in Central 
America at 8 pm. 


BOSTON AREA RAPE CRISIS CENTER (402-RAPE) . 


Call for support and/or info. 

BOSTON WOMEN'S RUGBY CLUB for aggressive, 
athletic, enthusiastic, dedicated women. Call 
469-2267 or 924-0683. 

RESPOND (623-5900) For battered women and 
children. 

DES ACTION PROJECT (828-7461) PO Box 128, 
Stoughton, MA 02070. 

JAZZ JAM SESSIONS for women and their friends 
happens each WED at 8 pm at Studio Red 
Top, 76 Batterymarch St., 5th floor, Boston 


(426-3427). Donation $2. 
MASS. WOMEN'S POLITICAL CAUCUS (547-6532) 
242, Camb. 02138. 


EVERYWOMAN’S SPORT CENTER (926-3008) 120 
Elm St., Watertown. Provides sports instruc- 
tion, activities and physical conditioning 


programs. 

WOMEN'S INDOOR SOCCER LEAGUE (864-8181). 
For women of all ages and abilities. 

BOSTON WOMEN'S ART ALLIANCE (267-0941) 539 
Tremont St., Boston. Public understanding 
and education of women's art and artists. Br- 
ing Judy Chicago's “The Dinner Party” meet- 
ings held each TUES at 7:30 pm at Leland 
Center, BCA, 543 Tremont St., Boston. 

WOMEN’S COMMUNITY SCHOOL (628-2525) 474 
Boston Ave., Medford. Scholarships and 
childcare available. 

THE WOMEN'S SCHOOL (492-4845) 595 Mass. 
Ave., Camb. Taught by women, for women. 
Free childcare. 

WOMEN’S EXERCISE CLASSES, the cheapest in 
town - 50 cents, happen each TUES and 
THURS from 6:30 to 9:30 pm at the Camb. 
War Memorial Building, 1640 Cambridge St., 
High School Complex, (498-9028). 

MASS. FEMINIST FEDERAL CREDIT UNION (661- 
0450) 186'% Hampshire St., Camb. 

THE WOMEN’S CENTER (354- -8807) 46 Pleasant 
St., Camb. (near Central Sq.) Referral and 
resource center. Weekly discussions each 
WED at 8 pm. Discussion of forming a 
Women’s Political Party each WED at 7 pm. 

WOMEN’S COUNSELING and Resource Center is at 
Harvard-Epworth Church, 1555 Mass. Ave. 
(rear door) in Cambridge (492-8568) Open 
MON 9 am to 1 pm TUES 5:30, THURS 5:30- 
8:30. 


BOSTON N.0.W. (661-6015) 99 Bishop Richard 
Allen Drive, Camb. National organization for 
women. Birth control & abortion referrals, 
speakers bureau, legal referrals, conscious- 
ness-raising groups. 

WOMEN'S ENTERPRISES OF BOSTON 739 Boylston 
St., Boston. All types of workshops, counsel- 
ing, etc. relating to women's problems in the 
work force. 

SOMERVILLE WOMEN’S CENTER, 7 Davis Square 
(613-9340). Mon-Fri, 10-3. Women of all 
ages and backgrounds meet to exchange 
skills and ideas. A wide variety of activities 
and projects. 

PROJECT W.A.G.E., 55 Sea St., Quincy (979- 
0734). Vocational counseling for women M-F, 
8:30-4:30. No fee. 

WOMEN'S COMMUNITY HEALTH CENTER (547- 
2302) 639 Mass. Ave., Camb. GYN, pregnan- 
cy screening & abortion care. Self-help 


groups. 
9 to 5 (536-6003) 140 Clarendon St. Organiza- ° 


tion for women office workers. 

HELP FOR ABUSED WOMEN AND CHILDREN (745- 
2162) 24 hr. hotline (744-6841) offers 
counseling, speakers and support groups. 
HAWC is also looking for volunteers. 

OPPORTUNITIES FOR WOMEN (261-2060) 
413 Comm. Ave., M-Sa 10-2, W till 8. Career 
Counseling and employment information 
center. Resource library and ongoing 
workshops. 

ALLIANCE AGAINST SEXUAL COERCION (AASC) (482- 
0329) PO Box 1, Cambridge 02139. Offers 
counseling, infor., referral and advocacy for 
women who have been sexually harassed at 
work 


BIRTH DAY, PO Box 388, Cambridge 02138 (288- 
7404). Homebirth information and referral. 
PLANNED PARENTHOOD, 99 Bishop Allen Drive, 

Cambridge (492-0518). A non-profit, social 
service and health education agency offer- 
ing counseling, info and referral, courses, re- 
sources and much more, concerned with all 
fertility-related behavior. Counseling phone: 
492-0777. 
FAMILY PLANNING, 74° Elm St., 


¥ Danvers (774-5525). Open 8 to 5:30 for infor- 


mation, speakers, films and referrals. Ap- 
pointments and pregnancy tests. 

CODE HOUSE, 396 Concord Ave., Belmont 484- 
9224. Counseling and referrals for personal, 
medical and legal problems. 

HOMEBIRTH, INC., BU Sta. PO Box 355, Boston 
02215 (956-5166). A non-profit group which 
offers general support services and childbirth 
Classes. 

CAMBRIDGE FAMILY PLANNING offers birth con- 
trol clinics at neighborhood health clinics. 
Day and evening sessions. Confidential care. 
Call 868-2900. : 

COPE is Coping with the Overall Pregnancy Ex- 
perience, before and after. A professional 
non-profit service agency offering dis- 
Cussion groups for pregnant and post-partum 
women and couples; many related groups 
and services, plus information, resource and 
referral service (357-5588). 

CRITTENTON CLINIC, 1 Perthshire Rd., Brighton. 
Non-profit clinic for out-patient, first tri- 
mester abortions. Free pregnancy tests; for 
appointment call 782-7600. Also BC and GYN 
services, vasectomy, tubal ligation and coun- 
Seling. 


HILDREN 


PUPPET SHOWPLACE. 30 Station Street in 
Brookline Village, presents puppet shows 
SAT.-SUN. at'1 and 3. Tix $2. March 9: 
“Leprechaun of Donegjl.” March 15-17: 
“Leprechaun of Donegal.” 

CHILDREN’S ART CENTRE 36 Rutland St., Boston 
(536-9666) conducts painting, sculpture and 
other workshops. M-F 3-5. Yearly registra- 
tion fee $2. 


CHILDREN’S MUSEUM, museum wharf, 300 ~ 


Congress St., Boston (426-8855). See Art 
Listings for exhibits. Fri. nite: admission is 
FREE from 6-9 pm; Performances each FRI at 

7:30, admission to show is 75¢. 
CROSSWALK: A THEATER FOR CHILDREN combines 
Story-telling, puppetry, music, dance, and 
Sign language for young and special needs 
audiences in “The Baby and the Bear” and 
“The House that Oliver Built” each SAT at 
11:30 am and 1:30 pm at the Museum of 
Transportation, 300 Congress St., Boston 
(426-6633, ext. 267). FREE, with admission 
_ Continued on page 36 


“Za 


CLUBS 
*512 Mass. Ave., Central Sq., Camb., MAS = 
The Green Ap ple 222 Canal St.. Green Harbor. Marshfield 


Rt. 1, Peabody. Mass. 535-9840 
New England's Finest 
female impersonators 


starrin 
KARL HOUSTON 
7 nights a week 
Two Shows nightly 
starting at 9:00 p.m. 


{on the road to Duxbury Beach) 
834-9149 


ed., March 12 
MAXXI ROCCO 


Every Thursday is Blue Thursday 
featuring the area’s finest Blues and 
Swing Bands 


Thurs., March 13 
BACK ALLEY BAND 


Fri. & Sat., March 14 & 15 
T. McGINNIS. BAND 


Sun., March 16 
BALLS 


Every Wed. & Thurs. 
All drinks ': price 8-9:30 p.m. 


ROCK & ROLL 


Sun., March 9 
THE VIOLATIONS 
SCAM 
G. G. ALLIN & THE JABBERS 
Mon., March 10 
LOU MIAMI & THE 


3 Appleton Street 


Ss 
MARCH 28 & 29 


FRI. & SAT., 


t., Boston 
338-7677 € 


KOZMETIX 
GROUND ZERO | Boston, Ma. 423-3652. 
Tues,, March 11 featuring 
TEASERS Chef Chandler's cooking 
Nightly 7 pm til 2 am 
THE OPTICS y Jazz Brunch 12-4 p.m. 
Wed., & Thurs,, March 12 & 13 f 
QUICK FOX Sunday Jazz Brunch & Ja 
GARBO 'Bisession. Musicians & dancers invited 
Fri. & Sat., March 14 & 15 to sit in. From 12 noon. 
JUNK MAIL 
ZOO TYPES Sat. Mar. 8 
Pepir NES BETTY CARTER 
un., March 1 
Open 2 p.m. to 2 a.m. | QUART ET 
Premiering new bands DIVE 
TICKETS BEING SOLD NOW i SAM RIVERS & 
FOR PETER DRAYTON & | DAVE HOLLAND 


Wed. — Sun. Mar. 12 - 16 


STAN GETZ 


1239 Commonwealth Ave. 


|| BROTHERS 


Tues.-Sat., 
March 11-15 ° 


SMITH 


Allston, Mass. 
- 
A, 
— 


The 
gx OXFORD ALEHOUSE yy 


36 Church Street HARVARD SQUARE 
Directly behind the Harvard Coop 876-5353 
Ounster’s Pube Two TVse Five Dart Alleyse Happy Hour 5-8 


Sun. & Mon., March 9 & 10 WHITE MOUNTAIN EXPRESS 


Tues.-Sat., March 11-15 


BRANCH BROTHERS 


Sun. & Mon., March 16&17 FAIR, YATES & BETSCHART 


1222 Commonwealth Ave. 
Corner Harvard & Comm. Ave. 
566-9014 


Every Sunday 
THE RON LEVY 
BLUESMAN BAND 


Every Monday 
ZAITCHIK BROS. BAND 


Every Tuesday 
MICHAEL & MATT 
ZAITCHIK 


acoustically 


Wed., Mar. 12 

DR. DAVE’S 
GOLDEN OLDIE’S SHOW 
Good ol’ Rock & Roll | 


Thurs., Mar. 13 
Rock and Roll Music 
guest D.J. 
James Petrillo 
Fri. & Sat. Mar. 14&15 
HEIDI & THE SECRET 

ADMIRERS 
Coming 

Fri., Mar. 21 


Fri., r. 28 
RON LEVY SLUESMAN BAND 


Fri 
MEMPHIS ROCKABILLY BAND 


SQUARE 
MeN'S 
BAR 


Ladies invited 
1350 Cambridge St. Inman Sq. 
Cambridge 491-9672 


Sundays 
PAUL RISHELL BAND 


Mon. & Tues., Mar. 10 & 11 
HYPERTENSION 


THE MUNDANES 


Wed. & Thurs., Mar. 12 & 13 


Fri. & Sat., Mar. 14 & 15 
Last Appearance Before 
Nashville! 


John Lincoln 
Wright 
& the Sourmash 
Boys 


os SA 


STAGE FRIGHT SHOWCASE 


Every Sunday 3-6 


with your host 
CHAMPAGNE CHARLIE 


0861 ‘Lt HOYVW NOILOAS ‘XINJOHd NOLSO@ 


se 


/ 

| 

MEN 

| 

' 
| 
i 
= | 
2 
& Oy 

i 

ig & 

1 
Me 
| 
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3 


36 


Thinking 
ahead 


Legendary Catalan pianist 
Tete Montoliu is finally 
coming to Boston, on March 
17 at 8 p.m. The solo concert 
by the great jazz improviser is. 


Enjoy Great Chinese food? AKU- AKU , 


Discover . 
Delivery Service Available - Boston AKU-AKU only 
($10.00 min) 2 mile Radius - $2.00 
Call Us! We'll Gladly Send You a Take-Out Menu 


BOSTON CAMBRIDGE ae 1 by WBUR 
: 149 Alewife Brook Pkwy. eing sponsored by - 
5377 FM, and will be held at BU’s 


11:30 a.m. - 2 a.m. daily 


Luncheon Specials Served Daily Morse Auditoriu 609 


Commonwealth Avenue, 
Boston. Tickets for what 
promises to be a memorable 
night of music are now 
available at ‘BUR, 630 Comm. 
Ave. Cost is $5.50, with a 50¢ 
reduction for station sponsors. 


4p.m.-3a.m. daily 
Free parking Somerset Garage ~ 


492- 
123 MOUNT AUBURN 


HARVARD SQUARE 


THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


Sun., March 


9 


BOB FRANKE 


Mon., March 10 
BARBARA PHANEUF 


Tues. & Wed., March 11 & 12 
CAROL GOODMAN 


Thurs. 


& Fri., 


March 13 & 14 
THE LOW RENT QUINTET 


Sat,, March 15 
NEW STANDARDS 


BOSTON 


COMM. AVE. 
‘BOSTON, MASS. 02215. 
(617) 247-7713 


Music starts et 8:30! 


Mon., Mar. 10 
THE DAWGS 


_ THE MAKE 


Join the cast 


Tues., Mar. 11 

IDOL THREATS 
with 

THE EGGS 


Continued from page 35 
to the Museum ($3). 

HELP FOR CHILDREN offers guidancd to kids and 
their families on day care, counseling, drugs, 
runaways, foster and medical care, educa- 
tion, Chapter 766 and much more. Hours M-F, 
9-5. Boston: 727-8898; Cambridge: 492- 
1572. 

FRANKLIN PARK (442-0991) and STONE (438- 
3662) Z00S are open year ‘round. 

FRIDAY FILM FUN happens each week at 3:30 pm 
at the Cambfidge Public Library, 449 
Broadway (498-9080). FREE. 


Small Club, no cover or dancing. 

DARTS (536-6560) 271 Dartmouth St. Disco. 

DING HO (661-7700) 13 Springfield St., Inman 
Sq., Camb. Lotsa comedy. 

DOYLE’S (524-2345) 3484 Washington St., JP. 
Local Sounds. 

ED BURKE'S, 808 Huntington Ave., Boston (566- 
9267). Live Music Fri-Sat. 

ELIOT LOUNGE, (262-5155) Mass. and Comm. 
Aves., Boston, features live music, no cover 
or minimum and a fine crew of marathoners. 

FLOWER GARDEN CAFE (367-5924), N. Quincy 
Market Bidg. Fine food and music nightly. 


in Camb. Fine folx, exotic bevvies; live 
sounds Sunday and Tues.-Thurs. each W: 
Crockett. 

RANCH HOUSE (834-9149) 222 Canal St., Green 
Harbor, Marshfield. New Wave. 

POOH'S, 414 Comm. Ave.. Boston (262-6911). 

THE AAT, (247-7713) 528 Comm. Ave., Boston. 
New-wave, Punk sounds. 

RED COACH GRILL, 150 Granite St., Braintree 
(843-1002). Each Sun: Leon Merian’s 14 
Piece Big Band. 

RILEY'S BEEF & PUB, 15 New Chardon St., Gov't 
Center (723-8089). Jazz, disco, funk. 


and Dance FLICK TRACY PRESCHOOL FILMS are presented each WED at FRANK'NSTEIN’S, Mass. Ave. at Newbury Street. ROLLER EMPORIUM (262-6132) 145 Ipswich St., 
10:30 am at the Camb. Pub. Library (498- Films shown nightly at 9 pm. Boston (formerly Spinoff). New Wave, rock 
UPSTAIRS AT Wed., Mar. 12 9080), address above. FREE. FROLICS, Salisbury Beach (465-8400). Rock 'n’ —__and disco to skate to. 
RISER YES (Youth Enrichment Services) (267-5877) Roll ballroom, casual dress. RYLES, (876-9330) Inman Square, Cambridge. 
180 Mass. Ave., Boston, provides city kids GJTSBY’S, Park Square, Boston (247-8848). Live jazz sounds nightly. F-Sat: Bellvista. 
THE GAMES with recreational, educational, and voca- Small casual pub, no dancing or cover. SAINTS BAR, 112 Broad Street, Boston. All 


Thurs. & Fri., Mar. 13 & 14 


THE DAWGS 
P.S. WI 


Sat. & pm Mar. 15 & 16 
mN. Y. 


tional programs. 

BOSTON CHILDREN’S THEATER (277-3277) 124 
Holland Rd., Brookline, offers performances 
and classes. 

CHILDREN’S BOOK SHOP (734-READ) 237 
Washington St., Brookline Village, sponsors 
readings and workshops by authors each 
SUN at 4 pm. FREE. 

THUMBELINA, AND MAYBE A LITTLE BIT MORE is 
staged (through April 6) SAT-SUN at 2 pm at 


GLADSTONE’S, 1239 Comm. Ave., Allston (254- 
9588). Fine audibles nightly. 

GREAT SCOTT, (566-9014) 1222 Comm. Ave., 
Allston. 

HONEY LOUNGE (536-3136) 909 Boylston St., 
Boston. New Wave. 

GROUND ROUND, in the Prudential Center (247- 
2500). No cover or minimum. 

INN SQUARE MEN'S BAR, ladies invited, 1350 
Cambridge St., Camb. (491-9672). Entertain- 


women welcome, come and dance. For direc- 
tions call Women's Center, 354-8800. 

SATCH’S (266-2929) 4- Stanhope St., Boston. 
Tu-Sun: entertainment, no cover. 

SIR HARRY'S (338-7979) 18 Oliver St., Boston. 

SOMEWHERE (423-7730). 295 Franklin St., 
Boston. Women’s bar, disco, no cover week- 
days. Sun, Mar. 16 at 4 pm: “Take Another 
Look" is performed by Boston’s Lesbian 
Theater Co. $3.50. 

SPEAKEASY (354-2525) 24 Norfolk St., Central 


e the Boston Arts Group, 367 Boylston St., ment nightly. 
: : THE RATTLERS Boston (267-7196). Tix $3. JACKS, (491-7800). 952 Mass. Ave., Camb. Out- Square, Cambridge. fine artists nitely. 
4 7 with PUPPET WORKSHOPS, for kids to learn how to _tasite tunes nightly. S.: Red Tape, M-T: Joe SPIT (262-2437), 13 Lansdowne St., Bos- 
e ® THE LYRES make puppets and how to put on puppet Lilly Band, W-Th.: Fly By Night, F-Sun: Fat ton.Dance to new wave, rock, and reggae. 
4 THE LONELY BOYS 4 shows, (through 5) City Blues Band. am, $4. F: 
e from 10:30 to 11:30 am at the French y a ‘ ledipus is the DJ, Sat: Tony V. 
; \ ., Boston (266-4351). Admission $1.50. JASPE mb.-Somerville line 
CONCERT THE SUPER GAMES stars Bugs Bunny, Batman SUNFLOWER, 22 Boylston St., Harvard_Sq. 
e ¢ and Robin, Wonder Woman, and a bunch of \yg’s ROW |, (261-3532) Brookline Ave. at | Seven nights a week. Each Sun. from 3-4 
: “me Harbour eae other cartoon characters, in a musical that Fenway Park. Live music, dancing nightly. Live radio broadcast on ‘CAS. S-M: Craig 
4 830 Lynnway. Rt. 1A. Lynn pits the good guys and gals against the \ine’s ROW II (254-0710) at Sammy White's Purpura Quartet, W: Search, F-Sat: Ron 
@ (617) 592-2774 — Minutes From 2 fiends. This competition is staged at the Brighton Bowl, 1600 Soldiers Field Rd. _Mooradian Quartet. 
Boston Free Orpheum THURS-SUN, Mar. 13-16 at 7:30 Brighton. "JONATHAN SWIFT'S, 30 Boylston St., Harvard Sq. 
pm, with Sat. matinees at 11 am and 2 pm = yyy's. (423-3652) 3 Appleton St., Boston. New (661-9887). Entertainment nightly. TU: Third 
Sun., Mar. 9 and Sun. shows at 2 and 5:30 pm only Tix geen Rail, Rings, W: Floresta w/Stan Strickland, 
Orleans bordello atmosphere with creole : A : 
VENGEANCE -6. cooking. S: jazz brunch. S: Sam Rivers and Th: NRBQ, F: Rizzz, Sat: Memphis Rockabilly 
HUNSOELD, a one-man veil show for cs Dave Holland, W-Sun: Stan Getz. Band. 


Tues., Mar. 1 


1 


rprise Giveaway Nig! 
EDDIE SHAW & 
THE WOLFGANG 


491-7313 


whole family, is-:stage 
April-12 at 2 pm at St., 


Jamaica Plain (522-8300). Tix $3. 50. 


maLUNASEA (822-0343) Rte. 140,.Tauton. 


. MAGO0'S SALOON, 1391 Washington St., West 
Newton (527-9553). Open noon to 1 am, 
casual dress. 


MAIN ACT, 830 Lynnway, Lynn (581-5555). New © 


THE TAM, 1648 Beacon St., Brookline (277- 
0982). Food, drink and live music. 

THACKERAY’S (762-2555) Rte. 1, Walpole Mall. 
Entertainment nightly. 

TEN-0-SIX (731-0254) 1006 Beacon St., 
Brookline. 


Wed., Mar. 12 England's largest concert club with upstairs ; A 
. 90) 1369 CLUB, (491-9625) 1369 Cambridge St. in 
ROBERT ELLIS Wed. & Thurs., Mar. 12 Sq., Cambridge. Live jazz seven nights 
OP RALL & 13 MATT TALBOT'S. (338-9089) 77 Berkeley St., a week from fine local groups. Price is right, 
with special guests no cover. 
THE LYRES UNCLE SAM'S (925-2585) 296 Nantasket Ave., 
THE SECRETS MCMAHON'S LOUNGE (782-5060) 386 Market St., H fl 
free admission w/college ID & LU BS Brighton. Entertainment nightly. ull. Great Sound, lighting, dance floor. 
x UNDERGROUND (566-8577) 1110 Comm. Avd., 
Thurs., Mar. 13 G.G. ALLIN & ME AND THEE (COFFEE HOUSE (631-1215) at the "Allston. A new club showcasing local new: 
NATIONAL St., Marblehead. Open FRI nights. Mar. 14: Wavers. 
ATTRACTION THE JABBERS AHMED'S DISCOTHEQUE (547-9382), 96 Winthrop Susan Boyer Haley. 
Call 392-2774 for details St., Harvard Sq. Intimate subterranean disco. MICHAELS PUB 52-A Gainsborough St. Boston Red Book, 136 River St., Central Sq., Camb. 
Belly dancing Wed. (247-7672). Jazz nightly. Open SUN at 3 pm. leas. 
Mar. 14 Fri. Mar. 14 ALAN'S TRUCK STOP (388-0881) Rtes. 495 & MODERN TIMES CAFE (354-8371) 134 Hampshire ( 
i : 150, Amesbury. Country music. TUES: live St., Camb. Live music each Tu, Th-F, films deal 9 : 2 
ss TH E ATLANTICS | Arista Recording _ radio show. Th: Carl Perkins, F-Sat.: Band of each SAT at 9 pm and SUN at 7:30 pm. Sun: WHO'S ON FIRST, 19 Yawkey Way, Boston. Live 
SHADOW WORLD Gold. Jim Merkin and Alida, W: Vance Gilbert, Th: Music. 
E MAPS ; Artists THE ALEWIFE (876-9180) 1920 Mass. Ave., Jackson Gilman, F: Katie Wolff, Sat: Rob WINE CELLAR (536-7662) 524 Comm. Ave., Ken- 
Camb., Porter Sq. Jazz FRI, and SAT. nites. Gianetti and Fess Moore. more Sq., Boston. Live jazz each Tues-Sat. 
TH E ELEV ATO R s No Cover. MOLLY'S (783-2900) 161 Brighton Ave., Allston. gu 
ARK St., Boston. A Gogo (dance to rock and 
ive music, -SAT. lew-Wave). 
with special guests ART ART COFFEE HOUSE (625-909) 46 Holland St. MY PLACE, 266 Commercial St. on the waterfront 
with special guests Spirit Recording Live entertainment, homemade or minimum. Live 
i AVEROF, 1924 Mass. Ave., Cambridge (354- NAMELESS COFFEEHOUSE, 3 Church St., Cam- ; 
Sun., Mar. 16 Artists : 4500). Entertainment nitely. bridge (864-1630). No charge for anything. 
JOSHUA HAYES BACK ROOM at the Idler, 123 Mt. Auburn St. Har- NARCISSUS (536-1950) 533 Comm. Ave., Ken- 
VOYAGER TENNI E KOMAR & vard Square (492-9639). No cover, folk, jazz, more Sq. Disco, computerized neon lighting, AN C E 
THE SILENCERS and blues. Coffee house. 3 dance floors. 
Wed.. Mar. 19 BOSTON-BOSTON, (262-2424) 15 Landsdowne NEW RISE CLUB (876-8297) 485 Mass. Ave. Cen- 
i) ‘ St. Sophisticated sound and lighting show; tral Sq., Camb. Music, dance, disco & new 
NATIONAL snow and fog machines; Boston's largest dis- wave W-Sun. Bar, game-room, large dance PARTICIPATION 
ATTRACTION | co dance floor. floor, restaurant. F-Sat: Prince Charles and 
Call 592-2774 for details BUDDIES (262-2480) 733 Boylston St., Boston. the City Beat. FOLK DANCING info, Call the Folk Arts Center of 
Sat., Mar. 15 Disco and lounge. Gay info center9pm-1.am. NICK'S (482-0930) 100 Warrenton St., Boston. New England at 862-7144. 
Coming ; BUNRATTY'S 186 Harvard St., Allston (254- Dining, dancing, drinking. FOLK DANCING happens each FRI from 8:15 to 11 
Mar. 24 THE SPORES 9804). Large dance floor and separate game OXFORD ALE HOUSE, (876-5353). 36 Church St., pm for beginners, and each THURS at the 
JACK BRUCE & room. $1 cover. Harvard Square (behind the Coop). same time for the more advanced, at the First 
CANTONE’S, 69 Broad ST., Boston (338-7677). PAPILLON, (566-8495), 1353 Beacon St., Baptist Church, 5 Magazine St., Central Sq., 
FRIENDS New wave. Brookline. Light eats, beer and wine. Camb. Admission $2, $1.50 for students. 
featuring Sun., Mar. 16 CASEY'S TOO (925-9850) 247 Nantasket Ave., PARADISE, 969 Comm. Ave., Allston. 254-2052. DANCE FREE provides an alternative dancing 
BILLY COBHAM Hull. Live music. Boston’s newest and biggest. S-M: Garland space for those who are just not cut out in the 
ef CLEMCL KLEEN KUT THE CLUB, 823 Main St., in Cambridge, (491- — T-Th: The Ramones, F-Sun: Lene —_—_ disco mold, with all kinds of music, no smok- 
. EMPSON of 7313). Cocktails and boogeying to live rock. ing, and no alchohol each WED at 7:30-pm at 
s Humble Pie CLUB CASINO ((603) 926-4542) Hampton Beach, Pastin age 7679) 47 Palmer St., Harvard Sq. the Christ Church, Zero Garden St., Harvard 
DAVID SANCIOUS of CRYSTAL N.H. Live sounds, disco, top name acts. Good music, fine grub. W-Th: Robin William- Sq., Camb. (491-4195). Donations are usual- 
CLUB SYMPHONY (267-5332 or 266-0039) 280 son, F-Sun: Chris Smither plus Taylor White- ly asked for at the door. 
E Street Band Huntington Ave., near Gainsboro St. Jazz __ side. INTERNATIONAL INSTITUTE OF BOSTON (536- 


e b 
Proper 
*, for Purchase of Alcohol ° 


tix $5.50 in advance 
$6.50 day of show 


ins 9: 


equired 


Tix available from Strawberries 


Hub. 


Of Town & Open Door 


GAMEROOM 
UNDER 20 ADMITTED 
T YOU NEED ANID be 


DRINK | 
\VAILABLE FOR | 
PARTIES 


each Th-F. 

THE CROSSROADS PUB, 495 Beacon St., Boston.’ 
(262-7371). Th: Bob Lazaroff. 

CROWN & ANCHOR (487-1430) 247 Commercial 
St., Provincetown. 

CYRANNO'’S (254-0003) 200 N. Beacon St, 
Brighton. Th: Live country rock. 

DAISY BUCHANAN (247-8516) 240a Newbury St. 


PEASANT STOCK (354-9528) 421 Washington — 


St., Somerville. Dinner. and music. T: Violin 
Sonatas of Schubert and Stravinsky, W: 
Weston Wind Quintet, Th: Violin Sonatas of 
Mozart and Brahms. 
PHOENIX COFFEE HOUSE (289-6090) 7 Washing- 
ton St., Malden. Music, movies, eats. 
PLOUGH AND STARS,(492-9653) 912 Mass. Ave. 


1081) 287 Comm. Ave. sponsors folk danc- 
ing each THURS at 7:30 pm. Beginners wel- 
come. Donation $1.50. 

CAMBRIDGE FOLK ORCHESTRA plays international 
folk dance music FRI, Mar. 14 from 8:15 to 
11:15 pm at the Christ Church, Zero Garden 
St., Camb. (729-3272). Tix $1.50-$2. 

SQUARE DANCING. with caller Archie Howell, for 


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100 Warrenton St., Boston ee 
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the” Hore” advanced, takes 


«place SAT, Mar. 15 at 7:30 pm at the United 
Parish, Willet Hall, 210 an ada Coolidge 
Corner, Brookline (277-6860). Tix $2. 


PERFORMANCE 


BOSTON BALLET dance Balachine’s La Son- 
nabula, Taylor's Aureole, and Cunningham's 
Estuary SUN, Mar. 9 at 2 pm at the Music Hall 
(542-3945). Tickets $4-$17. 

CONCERT DANCE COMPANY perform SUN, Mar. 9 
at 2 pm at*the Newton Arts Center, 61 
Washington Park, Newtonville (964-3424). 
Tickets $2.50. 

ROYAL DANCERS AND MUSICIANS FROM THE 
KINGDOM OF BHUTAN perform SUN, Mar. 9 at 8 
pm at Walker Memorial Hall, MIT, Cambridge 
(253-3210). FREE. 

LIVE FROM NYC is a dance performance with 
works created by, and danced by, ex-Boston- 
ians who went to NY for fame and fortune 
(Christina Nichols, Jane Setteducato, and 
Hallie Wanamaker) and are returning to 
Camb. for 2 performances SAT-SUN, Mar. 15- 
16 at 8 pm at the Joy of Movement Center, 
536 Mass. Ave. Tix $3.50. 

BOSTON CONSERVATORY DANCE THEATER 
premieres faculty works FRI-SAT, Mar. 14-15 
at 8 pm, and SUN, Mar. 16 at 3 pm at the Con- 
servatory Theater, 31 Hemenway St. (536- 
6340, ext. Dance) Tix $3. 


ECTURES 


ART SANDWICHED-IN are gallery talks during 
lunchtime (12:15 pm) with free dessert and 
coffee each FRI at the Institute of Contemp- 
orary Art, 955 Boylston St., Boston (266- 
5152). Tix $1.25. March 14: “The Col- 
laboration of Florine Stettheiner and Virgil 
Thomson.” 

COMMUNITY CHURCH OF BOSTON (266-6710) 
sponsors talks each SUN at 11 am at BU's 
Morse Aud., 602 Comm. Ave. FREE. March 9: 
Charito Planas talks about “The Philippines: 
Will They Be the Next Iran.” Mar. 16: Sen. 
Jack Backman talks about “The Crime of In- 


happen each MON at 
7:30 pm at Interface, 63 Chapel St., Newton 
(964-7140). Tix $5. March 10: “Healing in 
the Treatment of Modern Medicine.” 

LECTURE SERIES happens each TUES evening at 
8:15 pm at the Blacksmith House, 56 Brattle 
St., Harvard Sq., Camb (547-6789). March. 
11: “Colonial Household.” 

ETHICAL SOCIETY (267-2049) 5 Comm. Ave., 
Boston, sponsors lectures each SUN at 11 
am. FREE. March 9: Noam Chomsky ex- 
pounds on “The New Cold War.” 

PEACE PRIORITIES IN THE ‘80S is the topic of a 
series every second THURS at 8 pm at the 

~ First Parish Church, 3 Ghurch St., Harvard 
Sq., Camb. (661-6130). Tix $2. Next lecture 
is Mar. 27. 

ABOUT OUR BODIES is about women’s health is- 
sues each THURS at 7:30 pm at the Cleve- 
land School, 11 Charles St., Fields Corner, 
Dorchester Donation $1. March 27: “Infec- 
tions.” 

GEORGES BANK: PAST, PRESENT, AND FUTURE is 
the topic each THURS at.7 p.m. at the New 
England Aquarium (495-4024). FREE. March 
13: “Mammeis and Birds of Georges Bank.” 

THE PAST AS PROLOGUE is the subject each WED 
at 8 pm at the Museum of Science (723- 
2500). FREE. March 12: “Basement of the 
Sono A Major Frontier of Modern 
Geolog 

EXERCISE. HEALTH AND NUTRITION are comment- 
ed on every other TUES at 7:30 pm at the 
BBN-Jewish Community Center, 50 Suther- 
land Rd., Brookline (734-0800). Tix $1. 
March 25: “Back Problems.” 

LOSS is disected and explained each THURS at 
9:30 am at McLean Hospital, Pierce Hall, 115 
Mill St., Belmont. FREE. March 13: “Explain- 
ing Death to Children and Ourselves.” 

FOGG ART MUSEUM (495-4544) 32 Quincy St., 
Camb. features lectures about the Harvard 
collections each THURS at 5 pm. Tix $3. 
March 20: Peter Ashton. 

FOREIGN FOCUS SERIES takes place every sec- 
ond WED from 11:45 am to 1 pm (lunch avail- 
able or BYO) at the World Affairs Council 22 
Batterymarch St., Boston (482-1740). Tix 
$2.50. Mar. 12: “India and the Return of In- 
dira Gandhi.” 

ISRAEL, THE ARAB STATES, AND AMERICAN JEWRY 
is the topic SUN, Mar. 9 at 1 pm at the Zionist 
House, 17 Comm. Ave., Boston (267-3600). 
Admission $2. 

HENRY FAIRLIE, a Washington-based British 
journalist, talks about “The Politics of 
Promise” TUES, Mar. 11 at 3 pm at 
— Campus, Library, floor 11. 

EE. 


ELLEN GOODMAN, Globe columnist, discusses 


“The Women's Movement: Can We Have It 


All?” TUES, Mar. 11 at 8 pm at Harvard Law 
School, Langdell North Middle Classroom 
(495-4417). Admission $1.50. 

ELMA LEWIS and EDWARD STRICKLAND discuss 
Boston’s Black cultural experiences. TUES, 
Mar. 11 at 8 pm at UMass/Harbor Campus, 
Library-Faculty Club (287-1900, ext. 2277). 
FREE 


ANDRE EMMERICH discusses the “Art Market” 
TUES, Mar. 11 at 8 pm at the Fogg, 32 Quincy 
St., Camb. (495-4544). Admission $7. 

BIOLOGY AS A SOCIAL WEAPON: SOCIAL BIOLOGY 
THEN . . . SOCIOBIOLOGY NOW is the topic of a 
forum presented by Science for the People 
TUES, Mar. 11 at 7:30 pm at BU’s Sherman 
eee. 775 Comm. Ave., Boston (547-0370). 

E. 

SHIRLEY HAZZARD speaks WED, Mar. 12 at 6:30 
pm at the Boston Literary Hour, Women's City 
Club, 40 Beacon St., Boston. Tix $4.50. 

FILM AS ETHNOLOGY SOURCE MATERIAL is the 
topic WED, Mar. 12 at 7 pm at the Boston 
Public Library, Rabb Lecture Hall, Copley 

Continued on page 38 


The RED 


9 Westbor 


366-1362 


Sundays 
11th HOUR BLUES BAND 
& Tues., Mar. 
MUSKADINE- 
.& Thurs., Mar. 12 & 
THE ROCKIN’ | 
GEORGIE LEH 
Fri. & Sat., Mar. 14815 
OHN WARDWELL 
BLUES BAND 


NTRAL SQ. CAMBRIDGE 
354-2525 


Wed. — Sun 
Mar. 12 - 16 


DARLING 


Every Tues. 
Contemporary 
. JAZZ 
with SYNERGY CASEY’S TOO 
inthe 247.Nantasket Ave., Hull 


CANE RIDGE SALOON 925-9850 


THE LISTENING ROOM 


47 PALMER ST., HARVARD SQ. 492-7679 


Sat. & Sun., Mar. 8 & 9 


HOW TO CHANGE A FLAT TIRE 


(Trad. Irish-Scottish music) 


Wed.-Thurs., 
March 12-13 


AN EVENING WITH 
ROBIN WILLIAMSON (solo) 


Fri.-Sun., 
March 14-16 


CHRIS SMITHER 
plus TAYLOR WHITESIDE 


Wed., March 19 


JOHN COSTER 


Thurs., March 20 
thru Sun., March 23 


GUY VAN DUSER 
and BILLY NOVICK 
plus JON GAILMOR 


Tues., Mar. 25 


MARK HEARD 


Wed., Mar. 26 


ROSS BICKFORD’S COMEDY CAB 


Thurs., Mar. 27 


BAY STATE BLUEGRASS 


Fri., Mar. 28-Sun. Mar. 30 


JIM DAWSON 


Thurs.-Sat. 
DIRTY DOG BAND 


Thurs. Nite 
No Cover 
Also Loose Ladies Night 
All Ladies’ Drinks 30¢ 
8-10 pm 
Beer Blast for Everyone 
Every Night 
Draft Beer 30¢ 8-10 pm 
Coming 
THE PHONES 


TINA THE SNAKE LADY 
ZACHARIAH 


un. 
10 Commonwealth Ave 
ant Allston, MA 566-8577 
on the BC Green Line 


 Sun.,Mar.9 
SAILCATS 
Tues., Mar. 11 
B. WILLIE SMITH 
Wed., Mar. 12 


LOOSE CABOOSE 
Thurs., Mar. 13 


ROUTE 140 ¢ TAUNTON, MASS. 
(617) 822-0343 
25 MIN. FROM BOSTON 


Wed. & Thurs., Mar. 12 & 13 


HANGING WOMEN 
CREEK 


Fri., Mar. 14 


EMI Recording S Stars 
(Don't be fo 


Sat., Mar. 15 
SHANE CHAMPAGNE 


with special guests 


THE MIRRORS 


Coming 
Mar. 21 


THE JAMES 
MONTGOMERY BAND 


CABIN 
FEVER 


JFri., Mar.14 

THE MARTELLS | 

Sat., Mar. 15 
TAPPIN’ AT THE 


Sun.. Mar. 16 
MUSKADINE 
Tel.: 277-0982 
1648 Beacon St., Brookline 
Food, Drink and Music 


Mar. 22 
National Recording Act 
Call for info 
Mar. 28 


PDB 


April 4-6 


DO'A 


April 11-13 


DAVE VAN RONK 


LISTEN TO “LIVE PASSIM" EVERY SUNDAY, WHRB 95.3 
FM, 3 PM — 5 PM 


111 Sack Blvd. 


Tues. Mar. 11 
BIMBOS 
PULSE 
KLEEN KUT 


$1 cover, $1 drinks 


THE CINEMA ROOM 


Leominster, MA 
presents the 3rd invitational Battle of the Bands 


on 
Every Wed. 8-10, 25¢ drinks, 2 drinks for the price of 1 till! = 


THE CINEMA ROOM THE CINEMA ROOM 


At the intersection of Rte. 2& 13 


534-0573 


Mar. 12-15 
OAK 


« 1133 Broadway, Teele Sq. Somerville 623-9257 


LIVE ROCK & ROLL 


Thurs., March 13 
THE ZAITCHIK BROS. BAND 


featuring their new hit single 


“Car 


Every Weekend 


THE COMED! CONNECTION 


Do you live a long way from a 
newsstand? 


Call our subscript, 
& have The Phoenix 
DELIVERED. 


Night Club 
Wanted 


Show Case Talent Productions is look- 
ing for a nightclub to. hdst*New"Yérk 
Comedy Talent on a weekly basis. 
No investment necessary. 
Guaranteed success. 
Call or write for details 
Jerry Stanley 
Showcase Talent Productions 
372 Woodland Rd. 
Madison, N.J. 07940 


301-543-4995 
201-377-9535 


rock & roll 


Sat., Mar. 8 


CABIN FEVER 


Wed., Mar. 12 
HEIDI & THE SECRET 
ADMIRERS 


Thurs., Mar. 13 


LIVE WIRE OLDIES 
Fri. & Sat., Mar. 14 & 15 


THE ZAITCHIK BROS. 
JAZZ 


Sun., Mar. 9 


FRINGE 


Mon. & Tues., Mar. 10 & 11 


CATHARSIS 


Happy Hour till 8 
Two-for-One 1st Round! 
Free admission till 10:00 with this ad 


You and Your Friends are 


Invited to 


eMister 


88 Queensbury St. (in the Fenway) Boston 
(corner of Kilmarnock & Queensbury) 


_ 8p.m. - LIVE ENTERTAINMENT 


536-2509 


cNasty’s 


Rock and Roll and Jazz Bar 


ROCK 'N ROLL WED. thru SAT. JAZZ SUN. thru TUES. 


4 
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JIM McGETTRICKS 


PHONE : 479- 
Wollaston Beach Ble, 


THE BOSTON PHOENIX, SECTION THREE, MARCH 11, 1980 


The Sunflower 


restaurant & jazz club 
22 boylston st., cambridge 864-8450 


DOWNSTAIRS Wed., Mar. 12 

Sun., Mar. 9 & Mon.,| SEARCH 

Mar. 10 

CRAIG PURPURA Thurs.. Mar. 13 

QUARTET ALL YOU CAN EAT 

Tues., Mar. 11 Fri. & Sat Mar. 14 & 15 
RON MOORADIAN 

THE TRACES QUA 


Sun. Matinee, live on WCAS 
Sun., Mar. 9 CRAIG PURPURA 


UPSTAIRS 


Sat. lunch & Sun. Brunch noon til 3 
Mar. 8 & 9 SHELLY ISAACS DUO 


LAST CHANCE 

To place your band listing. 

Bring your Information to the 
Boston Phoenix, at the corner of 
Massachusetts Ave. and Newbury St., 
Monday by 5:00 p.m. 

or Call Steve Jackson or 

Robert Birnbaum at 536-5390. 


Continued from page 37 
Sq., Boston. FREE. 

HOLISTIC DESIGN IS EXPLAINED THURS, Mar. 13 at 
8 pm at Harvard's Carpenter. Center Lecture 
Hall, 24 Quincy St., Camb. (495-3251). 

ANNA DAVIN, a British Marxist feminist historian, 
talks about ‘People’s History” FRI, Mar. 14 at 
8 pm at UMass, 100 Arlington St., Boston, 
rm. 509. FREE. 

TEACH-IN FOR NO DRAFT, NO WAR, AND NO ARMS 
RACE happens SAT, Mar. 15 from 9 am to 5 
pm at the Arlington St. Church, Boston. Dona- 
tion $3-$5. Call the sponsors, the American 
Friends Service Committee (661-6130) for 
more info. 

NATIVE AMERICAN INDIAN PEOPLE: THEIR LANDS 
AND THE ENERGY CRISIS is the issue SUN, Mar. 
16 at 7:30 pm at the Center for Marxist 
Education, 550 Mass. Ave., Central Sq., 
Camb. (868-5620). Donation $1. 

POLES AND THE MEDIA (no, not the North and 
South) is the topic for Globe Poles Dianne 
Dumanoski and Carol Stocker SUN, Mar. 16 
at 3 pm at Harvard’s Phillips Brooks House 
(262-1194). FREE. 


ISC. 


BOSTON CAMERA CLUB meets each MON at 7:30 
pm at the First Presbyterian Church, 32 Har- 
vard St., Brookline (731-1953). FREE. 

BOSTON SCRABBLE PLAYERS CLUB meets each 
MON from 6:30 to 9:30 pm at the Jackson 
Mann Community School, 500 Cambridge St., 
Allston (the club is closed on all school holi- 
days and snow days). Players are ranked, 
prizes awarded for highest scores, and 
refreshments served. Admission $1. 


’ FREE HOME MOVIE CLINIC, for anyone who needs 


help with their equipment, happens the third 
WED of each month from 7 to 10 pm at the 
Boston Film/Video Foundation, 39 Brighton 
Ave., Allston (254-1616). FREE. 

HENNY YOUNGMAN performs SAT, Mar. 15 at 8 
pm at Temple Mishkan Tefilah, 300 Ham- 
mond Pond Parkway, Chestnut Hill (965- 
2356). All tix sales in advance $10. 

SPRING AND GARDEN FLOWER 
SHOW. presented by the Mass. Horticultural 
Society, takes place SAT, Mar. 15 to SUN, 
Mar. 23 from 10 am to 10 pm at the Com- 
monwealth Pier Exhibition Hall, 170 North- 
ern Ave., Boston. 

ST. PATRICK'S DAY CELEBRATION takes place 
SAT, Mar. 15 at 8 pm at the Somerville Ar- 
mory, 191 Highland Ave. 


USIC 


SAT. MAR. 8 


THE CAST 


SUN., MAR. 9 
Only Area Appearance 


HUMBLE PIE 


with special guests 


THE MIX . 


THURS., MAR. 13 
ALAN ESTES BAND 


with special guests 


FRI, MAR. 14 
- THE STOMPERS 


with special guests 


SAT. MAR. 15 
ROBIN LANE 

| & THE 
CHARTBUSTERs' 


with special guest 
Recording Artist 


D.L. Byron 


SUN. MAR. 16 
Boston’s Best in Concert 
St. Patrick’s Day Special 


: Call for into 

es TUES. NIGHT, MAR. 18 

“BLUES NIGHT” 

: Cail for info 

Mar. 20 3 
THE BLEND 


Produced & Presented by Frank Petrilla 


CLASSICAL 


MASTERWORKS CHORALE perform chamber and 


others SUN, Mar. 16 at 8 pm at Old South 
Church, Copley Sq., Boston. Tix $3. 


POP, ETC. 


BOSTON GLOBE JAZZ FESTIVAL features top per- 


formers in a week of jazz at the Berklee Per- - 


formance Center. SUN, Mar. 9 at 8 pm: Bill 
' Evans and George Shearing; MON, Mar. 10 at 


8 pm: Local jazz groups; TUES, Mar. 11 at8 


pm: Muddy Waters; WED, Mar. 12 at 8 pm: 
Carla Bley; THURS, Mar. 13 at 7:30 pm: 
Tribute to Billie Holiday and Lester Young; 
FRI, Mar. 14 at 7:30 and 10 pm: Dizzy 
Gillespie and Carmen McRae; SAT, Mar. 15 at 
7 and 10 pm: Latino Jazz. 

THE CLASH, one of the better British punk im- 
ports, play SUN, Mar. 9 at 7:30 pm at the 
Orpheum. Tix $8.50. 

SILLY WIZARD, a 6-piece band featuring 
traditional Scottish folk songs, ballads, and 


instrumentals, perform SUN, Mar. 9 at 8 pm- 


at the First Congregational Church, 11 
Garden St., Camb. Tix $4.50. 

AND ALBIN ZAK play piano, guitar, and 
oud SUN, Mar. 9 at 6 pm at Emmanuel 
15 Newbury St., Boston. Donation 


$2.50. 

LAURIE ANDERSON and RHYS CHATHAM feature a 
two-part concert of multi-media works MON, 
Mar. 10 at 8 pm at the ICA, 955 Boylston St., 
Boston (266-5152). Admission $4. 

MEG CHRISTIAN performs with MAXINE FELDMAN 
and J.T. THOMAS WED, Mar. 12 at 8:30 pm at 
Sanders Theater. Donation $6. 

HUMAN SEXUAL RESPONSE give a performance to 
benefit the Coalition for Direct Action at 
Seabrook FRI, Mar. 14 at 8 pm at Mass. 
College of Art, 364 Brookline Ave., Boston 
(661-6204). Tix $4.50. 

SUKAY, a San Francisco group who perform 
music of the Andes, appear SAT, Mar. 15 at 8 

__ pm at the Me & Thee Coffee House, 28 Mug- 
ford St., Marblehead (631-1215). Tix $3.50. 

SHIRLEY SHERWOOD, a feminist songwriter and 
guitarist, performs SAT, Mar. 15 at 10 pm 
at the Boston Arts Group, 367 Boylston 
St., Boston, 3rd floor..Co-sponsored by 
BAG, and the National Center for Women 
in the Arts of Emerson College (262- 
2010, ext. 271). 

SEMENYA MCCORD and THE JIM BRIDGES QUARTET 
perform SAT, Mar. 15 at 8 pm at a benefit 
sponsored by the Willie Sanders Defense 
Committee (disco follows at 10:30 pm) at the 
Elma Lewis School, 122 Elm Hill Ave., Rox- 
bury (442-8820). Donation $5. 

PHYLLIS HYMAN performs with guests HIROSHIMA 
SUN, Mar. 16 at 7 pm at the Berklee Perfor- 
mance Center. Tickets $8.50. 

AN EVENING WITH RONNIE GILL features Mae 
Arnett, Dee Kohanna, Stanton Davis, and 
Gary Sargent SUN, Mar. 16 at 6 pm at Em- 
manuel Church, 15 Newbury St., Boston. 
Donation $2.50. 

WHITE MOUNTAIN BLUEGRASS and JOE VAL AND 
HERB APPLIN perform SUN, Mar. 16 at 7 pm at 
the First Congregational Church, 11 Garden 
St., Camb. (661-0214). Tix $4. 


OTICES 


465 Arsenal St., Watertown (926-3600). 

THE HEALTH WORKER (547-8009) newspaper for 
all Boston area hospital and health care 
workers. Help is needed to write, produce, 
and distribute the paper. 

ASIAN AMERICAN RESOURCE WORKSHOP (864- 
2603) 27 Beach St., 3rd floor, Boston. Open 

. SAT. for the expression of the Asian 
American experience through art, culture, 
and history. Seeking supporters and 
members. 


OETRY 
& PROSE 


solo works of Mendelssofn.SUN, Mar. 9 at 3 ~ NOTE: Please consult the classified ads in our 
pm at Old West Church, Boston (396-1981)... Lifestyle ..section to discover the myriad 


Admission $4. 


COLLAGE perform original works SUN, Mar’ 9 at” CIVIC CENTER AND 


3 pm at Sanders Theater. Tix $4-$6. 

CIVIC SYMPHONY ORCHESTRA OF BOSTON feature 
works of Beethoven, Debussy, Britten, and 
Elgar SUN, Mar. 9 at 8 pm at Jordan Hall. Tix 
$1.50-$4.50. 

MUNICH CHAMBER ORCHESTRA performs works of 

Genzmer, Stadimair and Haydn SUN, Mar. 9 
at 8 pm at Symphony Hall (266-1492). Tix 
$7-$10. 

NEC SCHOLARSHIP WOODWIND QUINTET feature 
works of Ligeti, Danzi, and a selection of rag- 
time music MON, Mar. 10 at 8 pm at Jordan 
Hall. FREE. 

COPPOCK-HODGKINSON DUO feature works of 
Beethoven for piano and cello TUES, Mar. 11 
at 8 pm at the Longy School of Music, One 
Follen St., Camb. (876-0956). FREE. 

MUSIC FROM MARLBORO presents works of 
Mendelssohn and Stravinsky WED, Mar. 12 
at 8 pm at the Longy School of Music,.see ad- 
dress above. FREE. " 

ANDREW WALDO performs a Master's Degree 
recorder recital WED, Mar. 12 at 8 pm.at the 
Church of St. John the Evangelist, 35 Bow- 
doin St., Boston. FREE. 

BOSTON SYMPHONY ORCHESTRA, with pianist 
Claudio Arrau, perform selections of 
Schumann and Schubert THURS, Mar. 13 and 
SAT, Mar. 14 at 8 pm and FRI, Mar. 14 at 2 
pm at Symphony Hall. Tickets $7-$16. 

KING FOR A DAY, Giuseppe Verdi's comedy 
opera, is performed by the Boston Lyric 
Opera Company THURS, Mar. 13 at 8 pm and 
SUN, Mar. 16 at 3 pm at Brookline High 
pecs Roberts Aud. (426-3960). Tix $7.50- 


$ 

HARVARD WIND ENSEMBLE, with trumpeteer Rolf 
Smedvig (from the BSO), perform FRI, Mar. 14 
at 8:30 pm at Sanders Theater. Tix $2.50. 


MAURIZIO POLLINI gives a piano recital FRI, Mar.. 


14 at 8 pm at Symphony Hall (266-1492). 
Tickets $7-$10. 

MYSTIC VALLEY CHAMBER ORCHESTRA play works 
of Beethoven, Wagner, and others SAT, Mar. 
15 at 8:15 pm at the First Congregational 
Church, 21 Church St., Winchester (924- 
4939). Tix $5. 

HARVARD-RADCLIFFE ORCHESTRA perform in honor 
of Nadia Boulanger SAT, Mar. 15 at 8:30 pm 
at Sanders Theater. Tix $2-$5. 

DORIOT DWYER, principal flutist with the BSO, 
performs solo SUN, Mar. 16 at 5 pm at the 
French Library, 53 Marlborough St., Boston 
(266-4351). Admission $7.50 

VIENNA CHOIR BOYS perform SUN, Mar. 16 at 3 
pm at Symphony Hall. Tix $6.50-$9.50. 

UNIVERSITY OF WISCONSIN CONCERT CHOIR in- 
clude works of Schumann, Rabe, Kodaly, and 


educational experiences available in the Hub. 

CLEARINGHOUSE (227-1762) 
can help you explore career options through 
volunteer’ work in ecology, consumercsm, 
health services, advocacy, teaching, tutoring 
and more. Also career counseling. 

COUNTY JAIL needs volunteers with 
knowledge, skills or talent to lead mini- 
courses for prisoners awaiting trial. Contact 

.Paul Blazar at 729-8030. 

DARE FOSTER HOMES, 14 Beacon St., Boston. 
Rm. 306 is seeking people interested in 
becoming foster parents. Call 723-3420 day 
or night. 

SOLOMON MENTAL HEALTH CENTER (459-6454) 
needs volunteers for office. work, babysitting, 
coffee shop, and patient care. 

ONE TO ONE is looking for volunteers to be 
teachers/counselors to inmates at MCI Con- 
cord: Call 275-7831 for info. 

BOSTON VETERANS DISCHARGE UPGRADE PROJECT 
(367-2535) 25 Beacon St., Boston. Call for 
free, confidential help in upgrading unfair 
discharges. ; 

MASS. MENTAL HEALTH CENTER. (734-1300, ext. 
297), 74 Fenwood Rd., Boston, needs 
volunteers. 

MEDIHC (272-8000, ext. 243) 5 New England 
Executive Park, Burlington, helps Vietnam- 
era vets with health care skills with job place- 
ment and counseling. program. 

ANIMAL AID investigates abuses of animal ex- 
perimentation. Call 731-8708 or 893-3559. 
MENTAL PATIENTS LIBERATION FRONT (266-4846) 
230 Boylston St., Boston, rm. 204. Weekly 

SUN night meetings at 6 pm.” 

MASS. ASSOCIATION FOR THE BLIND (738-5110) 
needs volunteers to help a blind male adult 
with recreational activities. 

THE BOAT PEOPLE need help, including housing, 
clothing, furniture, storage space, etc. Call 
the International Institute of Boston, In- 
dochinese Resettlement Program (536-1081) 
287 Comm. Ave., Boston. 

TABLE TV ACCESS COALITION (482-6695) works to 
insure community involvement in the plan- 
ning of the Boston cable system. Meets se- 
cond MON of each month at Urban Planning 
Aid, 120 Boylston St., Boston. 

CAMBRIDGE SCHOOLS need volunteers, call for 
info at 498-9218. 

CEASE (Coalition to End Animal Suffering in Ex- 
periments) is an all-volunteer organization 
(933-1528, eves.). 

UNITED 


CONCERNED BIRTHPARENTS (491-8556) 
Box 126, Somerville, MA, 02144. A sup- 
port/activist group for people who have had a 
child placed for adoption. 
VETS RAP GROUP meets each THURS at 7:30 
pm at the Watertown Multi-Service Center, 


PHONE-A-POEM features a different poet every 
two weeks, 24 hrs.-a-day 492-1144. 

CENTRAL SQUARE WRITER'S GROUP meets each 
MON at 7 pm at the Central Square Library, 
45 Pearl St., Cambridge (498-9081). FREE. 

CALAMUS POETS present open readings each 
TUES at 8 pm at the Community Church of 
Boston, 565 Boylston St., top floor. FREE. 

BLACKSMITH HOUSE POETRY READINGS happen 
each MON. at 8:15 pm at 56 Brattle St., 
Camb. 

STONE SOUP POETS read each MON at 8 pm at 
Sword in the Stone, 15 Charles St., Boston 
(738-8660). Tix $1. ; 

AMERICAN FICTION DISCUSSION GROKP meets 
alternate THURS at 7 pm at the Central Sq. 
Library, 45 Pearl St., Camb. (498-9081). 
FREE. 

SOUNDINGS EAST Magazine is seeking poetry 
submissions. Send 3-5 poems and an SASE 
(deadline Mar. 15) to Soundings East, Salem 
State College, Salem, MA 01970. 

ALICE MATTISON, JEFFREY SCHWARTZ, and 
ROBERT LOUTHMAN read from their poetry 
SUN, Mar. 9 at 7 pm at Avenue Victor Hugo 
Bookstore, 339 Newbury St., Boston. Tix $1. 

MARK STRAND reads from his poetry THURS, 
Mar. 13-at 5 pm at BU's Sherman Union, 775 
Comm. Ave., Boston. FREE. : 


RIPPING 


IT’S ABOUT TIME is a national juried competition 


of one-of-a-kind time pieces in all media. The 
exhibition runs through March 15 at the Wor- 
cester Craft Center, 25 Sagamore Rd. (753- 
8183). 

OTHELLO, starring Maurice Woods as the Moor, 

is staged by the Theater By the Sea, 125 Box 
St., Portsmouth, NH (603-431-6660). Curtain 
is at 8 pm TUES-FRI; 5 and 9 pm SAT; 3 and ~ 
7:30 pm SUN. 
SPRING GARDEN AND FLOWER SHOW of the 
Worcester County Horticultural Society takes 
place FRI, Mar. 7 through TUES, Mar. 11, 
from 10 am to 9 pm most days at Horticultural 
Hall, 30 Elm St., Worcester (752-4272). 

WATERLAND QUARTET, a Holland-based ensem- 
ble, play jazz, improvisations, and a com- 
bination of folk tunes MON, Mar. 10 at 8 pmat 
the NE Repertory Theater, 23 Oxford St., 
Worcester. Tix $4. 

ART MUSEUM (799-4406) presents 
“The Clouded Yellow,” starring Trevor 
Howard and Jean Simmons, TUES, Mar. 18 at 
2:30 and 7:30 pm; and WED, Mar. 12 at 7:30 
pm Eleanor Munro talks about American 
Women Artists. Admission $1. 


PORTS 


NEHSA (New England Handicapped Sports As- 
sociation) (742-8918) PO Box 2150, Boston 
02106. Non-profit organization sponsors 
regular sports participation, competition, and 
instruction for the handicapped. 

BOSTON SKI & SPORTS CLUB (734-6726) 325 Har- 
vard St., Brookline. Offers members partici- 
pation in all kinds of sports. Weekly coed 
volleyball WED, from 7-10 pm at the Newton 
Armory, 1137 Washington St., West Newton. 

HORSEBACK RIDING (696-4250) YMCA Ponka- . 
poag Outdoor Center, Blue Hills Reservation, 
Canton. Instruction available. 

BOSTON AREA BICYCLE COALITION (491-RIDE) 3 
Joy St., Boston. Non-profit advocacy group to 
promote safe cycling for transportation and 
recreation. 

BICYCLE REPAIR COLLECTIVE (868-3392) 351 
Broadway, Cambridge. Repair, learn to re- 
pair, or have your bike repaired. 

RIVERWOOD 


SKI TOURING CENTER (1-297-2257) 
Box 54, Winchendon, MA 01475, offers 18 
miles of groomed trails, equipment rental 
available, lunches and lodging too. 

TENNIS-UP (247-3051) 100 Mass. Ave., Boston, 
5th floor. Practice courts with ball machines, 
group lessons available too. 

BAL-A-ROUE (396-4589) 376 Mystic Ave., Med- 
ford. Roller skating. Call for schedules. 

ACADEMY OF FENCING (926-3450) 125 Walnut 
St., Watertown. Mar. 14: Open House at 8 pm 
with demonstrations. 

BASKETBALL HALL OF FAME (413-781-6500) 460 
Alden St., Springfield. Open daily 10 am to 5 
pm, with basketball memorabilia galore. 

YOUVILLE HOSPITAL ROADRACE takes place SUN, 
Mar. 30 at 11 am; 6.2 miles; through Cam- 
bridge. Call 876-4344, ext. 306 for more info. 

AVON CHAMPIONSHIPS OF BOSTON TENNIS 
TOURNAMENT takes place MON-SUN, Mar. 10- 
16 at Walter Brown Arena, BU; finals at the 

Boston Garden. Call 235-8112 for info, tix $4- 

$9. 


ay & We 
4 DER 
Fri. 
| 
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fish, you would think that Pisceans enjoy water. You may 

be right, but who asked you? Actually, most Pisceans 

prefer champagne, though it is more expensive to filla 
fishbow! that way. If you are lucky enough to be a Pisces 

{although you admittedly had little choice in the matter) 

settle back, light up a Newport (end of commercial 

message) and listen closely: 

BEST TRAITS: Being brave, courageous, intelligent, 
understanding and terrific, 
WORST TRAITS: Believing any and all flattery, even 
obviously untrue stuff like the sentence above. 


TERRIFIC NEWS YOU HAVE BEEN WAITING TO HEAR: 
On the third Thursday of next June, it will disappear. 


GOOD NEWS: While singing in the shower, a talent 
agent will overhear you, and offer to make you a star. 


BAD NEWS: While singing in the shower, your next door 
neighbor will overhear you, and offer to make you a new 
nose. 


Warning: The Surgeon General Has Determined 
That Cigarette Smoking Is Dangerous to Your Health. 


PERSONALITY TRAITS: Since Pisces is the sign of the - 


17 mg. “tar”, : 
E per cigarette, FTC Report January 19 


WHAT'S AHEAD: While you are out riding, you will pick 
up a Very, very attractive hitchhiker, who will climb into 
the back seat. But since you will be riding on roller 
skates, it will become very crowded...although also 
very pleasant. 


Next Tuesday you wil! find yourself watching a very 
boring three hour TV special. Next Wednesday you will 
realize you had been staring at your bedroom mirror. 

While sifting the table salt in search of white 
diamonds, you will uncover a secret cache of pencil 
sharpeners. You can either call the Board of Health, or 
975-19399. (This was formerly an unlisted number, 
and even earlier was an unlisted fraction). 


FINAL THOUGHTS FOR THE MONTH: Trade-in your 
turnip collection for a trip to Guatemala. Feather your 
nest. And discover how much more you will enjoy your 
Newports if you light up the unfiltered end. 


1.2 mg. nicotine av. 


‘ e first horoscope that promis ood thi 9 Sea oF 
! After all, if readi es only good things for your futur 
, if reading about your future isn’t a pl a 
| a pleasure, why bother? 
~ 
: 
| = 


An American Dream 
becomes a love story. 


SISSY SPACEK ‘TOMMY LEE JONES 


“COAL MINER'S DAUGHTER” 


also starring BEVERLY DANGELO LEVON HELM Screenplay by TOM RICKMAN 
Based on the Autobiography by LORETTA LYNN with GEORGE VECSEY 
Executive Producer BOB LARSON Produced by BERNARD SCHWARTZ 
Directed by MICHAEL APTED BEKNAKD SCHWARTZ Production UNIVERSAL MCTURE 


OT BE SUTTABLE FOR | 


STUDIOS INC ALL KIGHTS KESERVED 


SACK GENERAL CINEMA ACADEMY TWIN 
PI ALLEY 1-2 || FRAMINGHAM CINEMA 
237 WASHINGTON ST RTE.9 SHOPPERS WORLD NEWTON CENTRE 
BOSTON 227-6676 235-8020 q 332-2524 
GENERAL TREE STONEHAM < 
BRAINTR 
SOUTH SHORE PLAZA ROUTES 128 & 28 DANVERS 
| 848-1070 438-4050 J exiv2a er 128 


iwih MADELINE KAHN | 


Executive Producer LOUIS A. STROLLER °* Produced by MARTIN BREGMAN 


Screenplay by MARSHALL BRICKMAN ° Story by MARSHALL BRICKMAN & THOMAS BAUM 
Directed by MARSHALL BRICKMAN * Technicolor” 


OPP. SHOPPERS’ WLD. 


RT. 128 NEAR 93 


ROUTE | at 128 


NTAL GUIDANCE SUGGESTED 1980 Orion Company il an QRUOWN pictures 
[SOME MATERIAL MAY NOT GE SUITABLE FOR CHRDREN| Thru WARNER BROS ©) A Wamer Communications Company 
SACK CIRCLE CINEMA 
CHERI 1-2-3 399 CHESTNUT HILL AVE 
¥ 50 DALTON OPP. SHERATON CLEVELAND CIRCLE 
BOSION 536-2870 566-4040 
SACK CINEMA SHOWCASE SHOWCASE GENERAL CINEMA 
NATICK WOBURN DEDHAM PEABODY 
237-5840 ROUTE9 933-5330 326-4955 NO. SHORE SHOP. CTR. 


599-1310 


ACADEMY AWARD NOMINATIONS 


Peter Sellers i in 


ALSO STARRING 


PETER SELLERS — Best Actor 


| MELVYN DOUGLAS — Best Supporting Actor - 


THE CRITICS AND PUBLIC AGREE... 
There’s nothing funnier than 


LORIMAR PRESENTS > 
AN ANDREW BRAUNSBERG PRODUCTION 


PETER SELLERS SHIRLEY MacLAINE 


IN A HAL ASHBY FILM 


“BEING THERE” 
JACK WARDEN - MELVYN DOUGLAS - RICHARD DYSART: RICHARD BASEHART 


SCREENPLAY BY JERZY KOSINSKI * BASED ON THE NOVEL BY JERZY KOSINSKI 
MUSIC BY JOHNNY MANDEL « EXECUTIVE PRODUCER JACK SCHWARTZMAN 
PRODUCED BY ANDREW BRAUNSBERG « DIRECTED BY HAL ASHBY * © LORIMAR DISTRIBUTION INTERNATIONAL 1980 


[PG] PARENTAL GUIDANCE SUGGESTED 


|SOME MATERIAL MAY NOT BE SUITABLE FOR CHILDREN | 


A NORTHSTAR INTERNATIONAL PICTURE 
READ THE BANTAM BOOK 


SACK IRCLE iF AGK CUNEMA SHOWCAS} 

|" PARIS NATICK WOBURN 

1 BOYLSTON NO CIRCLE 37-5840 ROUTES 933-5330 

lope PRU. CTR. 267-8181 566-4040 Sec 


SHOWCASE 


ROUTE 128 


‘Being There?’ 


“An absolutely remarkable 


comedy. se a delight.”. 
—RONA BARRETT, 


Good Morning America ABC-TV 


"One of the year’s 
10 best.” 

—GENE SHALIT, 
Today Show NBC-TV 


“Here is a comedy 
that valiantly defies 
both gravity and the 


latest Hollywood fashion.” 


--FRANK RICH, 
Time Magazine 


FOR DISTRIBUTION BY 


af United Artists 


ATransamerica Company 


DEDHAM 


326-4955 


SACK CINEMA } 
DANVERS 1-2 


3122 


“ABRACADABRA, 
A STAR IS BORNI” 


— Bruce Williamson, PLAYBOY 


EXCLUSIVE ENGAGEMENT 


is simply 
ravishing!” 


~ TIME MAGAZINE 


“Nastassia Kinski is 
powerfully seductive!” 


— PEOPLE MAGAZINE 


Starring MARCELLO MASTROIANNI and NASTASSIA KINSKI 


Dhec ted by Alberto Lattuada @ Produced by Giovanni Bertolucci 
A Springmill Co. Presentation ¢ From AZ New Line Cinema 


HILL" 


1 Beacon at Tremont 723-8110 


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GLOBE AWARDS 
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| Actor — 
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